ART IMMERSION PROGRAM IN THE AMAZON LABVERDE 2019 ART IMMERSION PROGRAM IN THE AMAZON 2019

WHAT DOES SCIENCE HAVE TO SAY ABOUT THE BIGGEST FOREST IN THE WORLD?

HOW DOES CULTURE CONTRIBUTE TO SPOTLIGHT IDEAS TO POSTPONE THE END OF NATURE?

HOW DOES ART AFFECT THE AMAZON AND ITS LIFE? LABVERDE Art Immersion Program in the Amazon is a multidisciplinary platform for the development of critical thought about nature and ecology. Artists, scientists and other agents of knowledge come together to recognize and narrate nature, in an attempt to create new ways of existing and interacting with the natural environment, as well as speculate on possible futures.

Developed in association with Manifesta Arte e Cultura and The National Institute for Amazonian Research, the program’s main focus is to promote artistic creation through a constructive debate about environmental issues generated by theory, data and life experiences in the Amazon rainforest.

VIMEO.COM/385523001 LABVERDE Programa de Imersão Artística na Amazônia funciona como uma plataforma multidisciplinar para o desenvolvimento do pensamento crítico sobre a natureza e a ecologia. Artistas, cientistas e outros agentes do conhecimento se juntam para reconhecer e narrar a natureza, na tentativa de criar novas formas de existir e interagir com os ambientes naturais, assim como especular sobre futuros possíveis.

Criado pela Manifesta Arte e Cultura em cooperação com o Instituto Nacional de Pesquisa da Amazônia (INPA), o objetivo principal do programa é promover criações artísticas sobre o meio ambiente a partir de informações teóricas, dados científicos e vivência na Floresta Amazônica.

VIMEO.COM/385523001 ADOLPHO DUCKE RESERVE

ZF2 - OBSERVATION TOWER

BALBINA ELETRIC DAM

PRESIDENTE FIGUEIREDO WATERFALL IGAPÓ RIVER AND WATER LILIES LAKE NATURE CUIEIRAS RESERVE

TUMBIRA COMMUNITY

TRÊS UNIDOS COMMUNITY

PRAIA GRANDE

CAMPINA FOREST

DECOLONIZE YOUR MIND: LABVERDE INTRODUCTION Lilian Fraiji

POETIC EXPRESSION Roberto Evangelista

PROJETO SONORA Luisa Puterman e Bruno Garibaldi

SOUND PERFORMANCE Luisa Lemgruber and Yifeat Ziv

FIND YOUR SPIRIT ANIMAL Anne-Katrin Spiess

EMOTION FOR CHANGE ART Sara Michieletto Concert

POCKET SHOW Anne Jezini

LISTENING TO A TREE EXPERIENCE Simone Moraes

CREATIVE RESPONSE TO SUSTAINABILITY Yasmine Ostendorf

ECOEXISTENCE:THE POSSIBILITY OF A RT IN THE TIME OF ANTHROPOCENE Yuko Hasegawa

PHOTOGRAPHY IN THE AMAZON Rogério Assis Artwork

AMAZONIAN RAINFOREST TYPOLOGY Flavia Santana

THE DOMESTICATION OF THE AMAZON Rubana Palhares and Charles Clement

COMPLEX SYSTEM Luiz Alberto Oliveira

FOODSCAPE AND WILD EDIBLE PLANTS Renata Peixe-boi

INTRODUCTION TO ENTOMOLOGY Fabricio Baccaro SCIENCE

ENVIRONMENT TREE CIRCLE Jochen Schöngart

FOREST SOUNDS AND BIRDS Mario Cohn-Haft

FRAGMENT FOREST AND LANDSCAPE Rita Mesquita

PLANT SCIENCE Ricardo Perdiz LEARNING FROM THE FORESTLEARNING Forests have always had a soothing effect on me and YASMINE OSTENDORF The Amazonian rainforest accommodates species of trees that host up to more than without given it much further thought, I assumed 2000 creatures and critters, all feeding off each other. The forest presents herself as a that it had something to do with the multiple shades place of hyperspecificity and entanglements to those who open their eyes. Smells and of green, the tranquility of leaves wafting and cheer- sounds also seem to be amplified by the forest. Whether it is the lack of air pollution fully chirping birds. Having spent time in the Ama- and fumes we have become so accustomed to, or the constant buzzing of traffic and zonian rainforest as part of the LABVERDE: Artistic other noise pollution of the city, both my ears and nose experienced a feeling of relief Immersion Program, I had to leave this idea behind in the forest. But don’t be mistaken: not because of peaceful tranquility; the opposite for good. I had to detach myself from a preconceived was true! You hear and smell an abundance of life. The various sound artists that were idea to carve up a space to unlearn. Rather than a part of the Labverde Artistic Immersion Program were in for a phonic treat in the paradisiacal and serene space, the forest revealed Amazonian rainforest that allowed for incredible recordings, like sap running through herself as a place buzzing with active ambiguity, trees, mysterious underwater activity, the haunting calls of the howler monkeys and teeming with energy as multiple species are battling an overwhelmingly loud dawn chorus. Might it be the leaf-cutter ants on the move or for survival or a space in the sunlight. the wind rustling a pile of leaves, the forest is the place par excellence to investigate soundscapes and biophonies. When I was asked to write about what I had learnt from the forest, it seemed a hard question to answer Another lesson the forest makes available to us is to straight away, even though I did undergo a transfor- recognise the possibility of a different sense of time; mation after the intense research trip that felt like deep time. The history of the forest goes far beyond hu- a visit to the source of all life. Amongst many other man history. Stored in the multitude that is the forest things I had learned about the carbon cycle of the is knowledge that goes far beyond the natural sciences, forest, dendrochronology, the different landscapes beyond the arts, and mostly, that goes back much fur- and the domestication of the rainforest. But fac- ther in time than we can imagine. We are risking to lose tually these were all things I had learned from the access to an understanding and sense of that rhythm amazing scientists, from The National Institute of that revolves not around clock-time, but is driven by Amazonian Research, that were part of the research expedition - not from the forest other forces. However, the decisions we make in the itself. For a truthful answer, I had to dig deeper. For me the question turned into an here and now regarding our forests are decisive for exercise in realizing that it is not only our mind that learns, but that many other parts a deep future. Though this sounds alarming, it is not of our body understand and store experiences too. What we learn from the forest we necessarily a bad thing if you consider the history of learn in a bodily way, engaging all the senses, translating different vibrations and com- land-use domestication and the sustainable modes of co-existence that were devel- munications in different languages. oped in the Amazon for thousands of years. Of course, there is no such thing as the ‘untouched forest’. Humans construct environments, just like all other species, like beavers building dams. In many cases this can be mutually beneficial. Think for instance One of the senses the forest trains is the eye. It taught me to look, and to look again, of Anthropogenic Dark Earth and how indigenous people produce compost heaps for calibrating, tuning into details. After every hike I started to see more co-dependencies, the creation of a highly fertile soil. They have always known how to turn a dump heap complexities and layers between all the non-human actors. Distracted by the heat and into a garden, making good use of ash and charcoal as fertilizers. moist of the forest, what first looked like trees, became intricate webs of relationships. Everything came alive, nothing was identical anymore. Every leaf had a different structure, some bark was gnawed on and everywhere I now saw bugs, fungi, small (and occasionally Not only are humans changing the forest, it goes both ways: the forest is changing big!) mammals in all colours and shapes. It is mind-boggling to realize that only a very small humans, too. The history of humans and the forest has been a process of true inter- percentage of these complexities and interrelations are visible to the human eye. A lot of it dependence, in which plants are key when it comes to our nutritional and medicinal happens on a microscopic level, or changes will only be visible over the course of a decade. choices. What is problematic is that we have come to think of ourselves as a superior species that rules over others. The forest has be- We need to diversify our language like the Forest come a resource to support our way of life, be at is multiple as a condition of survival. The Amazon our service. Hence we have come to desire our land- Forest teaches us that plurality is a strategy of scapes controlled and we are transforming our food resilience and we can’t forget about this char- using all the pesticides needed in order to dominate acteristic as a vital and existential capability the earth. We may even ask: how does the consump- also for human nature. A lack of plurality, both tion of artificial or genetically modified food can in- in language and landscape, turns us less resilient fluence us as humans? and less able to cope with the inevitable changes that lay ahead of us and the climatic changes we are already experiencing. In the autumn of It’s not just the biophysical assets of the forest 2018 there was a big fire in National Museum in that matter to how we can be in this world, natural Rio de Janeiro, where the archives of the (some biodiversity is also influencing our way of communi- extinct) indigenous languages were stored. This cating. The forest speaks to us in a language that is loss of language is a loss of wealth and multiplic- not based on words. Languages are local and spe- ity and forces us to become even more depen- cific to their time and space. For many populations, dent on (over) simplified terms and concepts. the languages Portuguese, Dutch or English remain What does this mean for our understanding of languages of colonizers. The concepts they introduce the forest as a place of hyperspecificity? to global culture stem from the school of thought of colonial times. The etymology of the word “florestas” is likely derived from the Latin old world forīs, meaning “outside, out there, out of sight”. For an indigenous community this The reason why I believe it’s still of great importance to guide artists to the Amazonian concept of a forest would not make sense. When our mother-tongue is taken away, the rainforest is that no other field allows quite as much freedom for speculation and ap- diversity of language, and thereby of concept, specificity and complexity, diminishes. propriation as the arts and design. We tap into, jump, and -in the case of appropriation-, Simplification of language equals a loss of plurality of concepts. legitimately steal/borrow from all disciplines. Just like in nature, collaboration prevails. Without collaboration there is no complexity, and I believe complexity is the essence of our existence. In the arts we negotiate and create tools and skills (question, advance, The physicist, philosopher and eco-feminist Vandana Shiva, claims that the monoculture reflect, confuse and catalyse) to allow complexity. Or, as Ailton Krenak formulated of the language leads to the monoculture of the mind. Our words haven’t kept up with it in his book ‘Ideias para adiar o fim do mundo’: ‘The field of art is where visions and the ever-expanding complexity of our world. If anything, it has become more simplified dreams are possible. A place we can inhabit beyond this hard land: the dream place. due to it becoming more mono-cultural: think of the dominance of the English language. The dream as a transcendent experience in which the cocoon of the human implodes, We bash against the walls of the restrictions of our capability to translate concepts; opening to other visions of unrestricted life. The artistic field as a place where people after all, language is not just representation, it shapes our are initiated into a tradition of dreaming.’ understanding of the world surrounding us. Meanwhile, we still cannot grasp what the collapse of biodiversity means and entails, or fully understand the concept of ‘climate change’, Though as artists we might not be able or willing to offer directly implementable solu- both on a human and environmental level. To which extent is tions, we offer reflections, images and language that diversify, stretch and deepen the the language, or rather, the translation of concepts, responsi- knowledge about the world we live in. I hope, through the Labverde program, artists will ble for this inability to see and react to the present profound find a way to weave the complexity of the forest into the plurality of artistic language in environmental crisis? It’s a complex web of interrelationships order to better disseminate environmental and ancestral concepts. If we recognize the that needs a holistic, multisensorial and multidimensional ap- history of our landscapes, perhaps we recognize that to overcome complete ecosystemic proach, including new images, concepts and other languages collapse, we need to look to our ancestrality and understand the importance of complexity that can adequately address these issues with more chances and plurality of animals, plants, humans, atmosphere and biosphere. Only then we will be to do environmental justice. able to see the inseparability of nature’s past, resilience and rights from our own. APRENDENDO COM A FLORESTA As florestas sempre tiveram um efeito calmante sobre mim, YASMINE OSTENDORF ao princípio acreditava que era por conta de seus variados A Floresta Amazônica acomoda espécies de árvores que hospedam mais de 2000 cria- tons de verde, pela tranquilidade das folhas flutuando e pelos turas e bichos, onde um se alimenta do outro. A floresta se apresenta como um local de cantos dos pássaros. Tendo passado algum tempo na Floresta hiperespecificação, um emaranhado para quem abre os olhos. Cheiros e sons parecem ser Amazônica como parte do Programa de Imersão Artística LA- amplificados pela mata. Meus ouvidos e olfato experimentaram uma sensação de alívio, BVERDE, tive que deixar essa ideia para trás definitivamente, talvez pela ausência de um ar mais poluído por fumaças e outras substâncias que estamos me desapegar de uma ideia preconcebida para criar um espaço tão acostumados, ou pela ausência do ruído constante do trânsito e outras poluições para desaprender. Em vez de um lugar paradisíaco e sereno, a sonoras da cidade. Mas não se engane: não era uma tranquilidade pacífica; o oposto é floresta se revelou um espaço cheio de ambiguidades, repleta verdadeiro! Você ouve e cheira a abundância da vida na Amazônia. de energia, onde milhares de espécies, lutam pela sobrevivência

e pela luz do sol. Os vários artistas sonoros que faziam parte do programa LABVERDE presenciaram um

deleite fônico na floresta que permitiram gravações incríveis: como o da seiva correndo Quando me pediram para escrever sobre o que havia aprendido dentro das árvores, de misteriosas atividades subaquática, do apelo assombroso dos com a floresta, me pareceu uma pergunta difícil de responder macacos bugios e de um coro, esmagadoramente alto, no amanhecer. Sejam as formigas de imediato, apesar de ter sofrido uma transformação após a cortadeiras em movimento ou o vento farfalhando uma pilha de folhas, a floresta é o intensa viagem de pesquisa para a Amazônia, que mais me pare- local por excelência para investigar paisagens sonoras e biofonias. ceu uma conexão com à essência de toda a vida na terra. Entre

muitas outras coisas, eu aprendi sobre o ciclo do carbono da floresta, sobre dendrocronologia, sobre as diferentes paisagens Outra lição que a floresta nos ensina é reconhecer a possibilidade de um senso de tempo e sobre a domesticação da floresta tropical. Mas, na verdade, diferente, um tempo profundo. A história da floresta vai muito além da história humana. essas foram todas as coisas que eu aprendi com os incríveis Acumulado na multiplicidade que é a floresta, há um conhecimento que vai muito além cientistas do Instituto Nacional de Pesquisa da Amazônia, que das ciências naturais, além das artes e, principalmente, que remonta muito mais ao fazem parte da expedição de pesquisa - e não com a própria tempo do que podemos imaginar. Estamos correndo o risco de perder o acesso a uma floresta. Para uma resposta honesta, tive que ir mais a fundo às compreensão e percepção desse ritmo que não gira em torno do tempo do relógio, mas questões de nossa relação com o entorno. Para mim, o desafio é impulsionado por outras forças. No entanto, as decisões que tomamos aqui e agora se transformou em um exercício de consciência, onde percebi em relação a nossas florestas são decisivas para um futuro profundo. que não é apenas com a nossa mente que se aprende, mas dife- rentes partes do corpo são capazes de aprender e armazenar experiências também. O que Quando consideramos a domesticação da paisagem e aprendemos com a Floresta, aprendemos como todo o corpo, engajando todos os sentidos os modos sustentáveis de​​ coexistência, desenvolvidos para transformar a multiplicidade de vibrações e inter-relações em diferentes linguagens. na Amazônia há milhares de anos, percebemos que a história da intervenção humana na terra não foi sem- Um dos sentidos que a floresta treina é a visão. Ela me ensinou a olhar, e a olhar novamente, pre, necessariamente ruim. Obviamente, não existe calibrando, transformando os detalhes. Após cada caminhada, comecei a perceber, cada uma floresta intocada. Os seres humanos constroem vez mais, a co-dependência, a complexidade e as diversas camadas entre atores não-hu- ambientes, assim como todas as outras espécies, como manos. Distraída pelo calor e pela umidade da floresta, o que primeiro parecia árvores, castores constroem represas. Em muitos casos, isso tornou-se uma teia intrincada de relações. Tudo ganhou vida, nada mais era idêntico. Cada pode ser mutuamente benéfico. Pense, por exemplo, folha tinha uma estrutura diferente, algumas cascas eram roídas e, em todos os lugares, na Terra Preta de Índio e em como os povos ancestrais agora eu via insetos, fungos, pequenos e, ocasionalmente, grandes mamíferos. De todas da Amazônia produziram compostagem criando solos as cores e formas. É espantoso perceber que apenas uma percentagem muito pequena altamente férteis. Eles sempre souberam transformar dessa complexidade e dinâmicas é visível ao olho humano. Muitas delas acontecem em um um monte de lixo em jardim, fazendo bom uso de cinzas nível microscópico, ou as mudanças só serão perceptíveis ao longo de uma década. e carvão como fertilizantes.

Não apenas os seres humanos estão transformando a floresta, mas a floresta Necessitamos diversificar nossa linguagem, assim como também está domesticando os seres humanos também. A história humana e a Floresta é múltipla como condição para sua sobrevi- da natureza tem sido um processo de verdadeira interdependência, onde as vência. A Floresta Amazônica nos ensina que a plurali- plantas exercem um papel fundamental nas nossas escolhas nutricionais e dade é sua estratégia de resiliência e não podemos nos medicinais. O que é problemático é que chegamos a pensar em nós, humanos, esquecer dessa característica enquanto capacidade como uma espécie superior que domina as outras. A floresta se tornou um vital, existencial também da natureza humana. A falta recurso para suportar nosso estilo de vida, estar ao nosso serviço. Por isso, de pluralidade, tanto na linguagem quanto na paisa- desejamos que nossas paisagens sejam controladas, e transformamos nossos gem, nos torna menos resistentes e menos capazes de alimentos usando os pesticidas necessários para o domínio da terra. Hoje, lidar com as inevitáveis ​​mudanças à nossa frente e as devemos nos questionar como o consumo de alimentos artificiais ou gene- mudanças climáticas que já estamos enfrentando. No ticamente manipulados podem influenciar a nós, enquanto seres humanos? outono de 2018, houve um grande incêndio no Museu Nacional do Rio de Janeiro onde os arquivos das línguas indígenas, algumas extintas, foram armazenados. Essa perda de linguagem é também uma perda de riqueza e multiplicidade Não são apenas os benefícios biofísicos da floresta importantes para o nosso modo de e nos força a ficar ainda mais dependentes de termos e conceitos simplificados. O que estar no mundo, a biodiversidade natural também exerce grande influência na nossa isso significa para a nossa compreensão da floresta como um local de hiperespecificação? comunicação. A floresta fala conosco em uma linguagem que não é baseado em palavras. Idiomas são locais e específicos de seu tempo e espaço. Para muitos povos, os idiomas português, holandês ou inglês, continuam sendo a língua dos colonizadores. Os conceitos A razão pela qual acredito que ainda é de grande importância guiar artistas para a que imperam na cultura global derivam da escola de pensamento dos tempos coloniais. A Floresta Amazônica é porque nenhum outro campo do conhecimento permite tanta etimologia da palavra ‘florestas, provavelmente deriva do Latim antigo “forīs”, que signifi- liberdade de especulação e apropriação quanto as artes e o design. Nós nos empode- ca “fora, externa, fora de lugar”. Para uma comunidade indígena, esse conceito de floresta ramos, nos tornamos donos de todo o conhecimento. No caso da apropriação, legiti- não faria sentido. Quando nossa língua materna é substituída, a diversidade da linguagem mamente roubamos/emprestamos conhecimento de todas as disciplinas. E, assim como e, portanto, a pluralidade dos conceitos, das especificidades e da complexidade também na natureza, nas artes a colaboração prevalece. Sem colaboração, não há complexidade, é impactada. A simplificação da linguagem é igual a perda da pluralidade de conceitos. e acredito que a complexidade é a essência da nossa existência. Nas artes, negocia- mos e criamos ferramentas e habilidades para questionar, avançar, refletir, confundir e transformar, permitindo assim complexidade. Como Ailton Krenak defende em seu A física, filósofa e ecofeminista Vandana Shiva, argumenta que a monocultura da língua leva livro ‘Ideias para adiar o fim do mundo’ :“O campo da arte é onde visões e sonhos são à monocultura da mente. Nossas palavras não acompanham a complexidade, cada vez maior, possíveis. Um lugar que podemos habitar além desta terra difícil: o lugar dos sonhos”. do mundo em que vivemos. Na verdade, a linguagem se tornou mais simplificada em conse- O sonho como uma experiência transcendente em que o casulo do humano implode, quência de um mundo mais monocultural: pensem no domínio da língua inglesa, por exemplo. abrindo-se para outras visões de vida irrestrita. O campo artístico é o lugar onde as Quebramos a cabeça com as restrições na tradução de certos conceitos, afinal de contas, pessoas são iniciadas na tradição do sonhar.” a linguagem, não é apenas representação, ela molda nossa compreensão do mundo que nos cerca. Enquanto isso, ainda não conseguimos compreender o que o colapso da biodiversidade significa e implica, ou compreender Ainda que, como artistas, não possamos oferecer soluções diretamente implementá- completamente o conceito de mudança climática, tanto em nível veis, nosso trabalho possibilita reflexões, imagens e linguagem que diversificam, am- humano quanto ambiental. Até que ponto a linguagem, ou melhor, pliam e aprofundam o conhecimento do mundo que nos rodeia. Espero que, através do a tradução de conceitos, é responsável por essa incapacidade de programa LABVERDE, os artistas encontrem uma maneira de entrelaçar a complexidade ver e reagir à atual crise ambiental profunda? A complexa rede da floresta, à pluralidade das linguagens artísticas, para assim disseminar os conceitos de inter-relações vivas e não vivas que operam em nosso planeta ambientais e os valores ancestrais. Se reconhecermos a história de nossas paisagens, precisa urgentemente de uma abordagem holística, multissen- talvez reconheçamos que, para superar o colapso ecossistêmico, precisamos olhar sorial e multidimensional, incluindo novas imagens, conceitos e para nossa ancestralidade e entender a importância da complexidade e da pluralidade outras linguagens que possam abordar adequadamente esses de animais, plantas, seres humanos, atmosfera e biosfera. Somente assim, seremos problemas e fazer justiça ambiental. capazes de ver a inseparabilidade do passado, da resiliência e dos direitos da natureza. ARTISTS ANGELA FRANCIS 32 ANNE JEZINI 36 ANNE-KATRIN SPIESS 40 BARBARA SANCHEZ BARROSO 44 BENJAMIN MUZZIN 94 BETTY SARGEANT 48 CAROLINA DE BARROS AND SIMONE DE MORAES 52 CLARISSA TOSSIN 56 CRISTINA ATAIDE 60 DAWN GAIETTO 64 EDITH DERDYK 66 ELISABETTA ZAVOLI AND SARA MICHIELETTO 70 FAISAL ANWAR 74 FELIPE DE AVILA 80 GABRIELA MACIEL 84 HERWIG SCHERABON 86 LUISA LEMGRUBER AND DANIEL REYES 90 MAN AND WAH CHEUNG 100 MATTHEW J. BEACH 104 PATRICIA BARBARA 108 PIETER SEBASTIAN BOUMAN 112 SEIHA KUROSAWA 116 STIJN JANSEN 120 THOMAS AND RENÉE RAPEDIUS 124 VALENTINA SOTTO 126 VERA MANTERO 130 YIFEAT ZIV 134 ZOROASTRA INFINITA 136 , 2021. (Work in Progress) in Progress) (Work 2021. book, a children’s writing River, Amazon The - - The book Angela Sangma Francis is a Bangladeshi-British writer who grew up in the up in who grew writer Francis is a Bangladeshi-British Angela Sangma series published by Flying Eye Books. Through her writing, she endeavours to endeavours she writing, her Through Books. Eye Flying by published series bustling city of Hanoi (Vietnam) and the rural landscapes of Devon in the South the South in Devon the rural landscapes of and Hanoi (Vietnam) of bustling city publishers to create stories that can engage young readers about the natural the natural readers about young can engage that stories to create publishers released in 2018 was , Books) (Flying Eye Everest publication, first Her world. of…” Lives the “Secret She is also author or 14 languages. into translated been conjure the majesty and magic of the natural world. She is interested in unpick She is interested world. the natural and magic of the majesty conjure tion and non-fiction illustrated books for children. She works with UK based with UK works She for children. books tion and non-fiction illustrated ing the function of nature in myths and how we might cast this into the present the present this into cast might we and how in myths nature of function the ing and create fables of nature for now and the future. future. the and now for nature of fables and create and received a “Special Mention” in the Bologna Ragazzi Awards, and selected Awards, the Bologna Ragazzi in Mention” a “Special and received It has 2019. Council, Book the Children’s by Book” Science as an “Outstanding West England. Living and working in Berlin (Germany), she now develops fic develops now she in Berlin (Germany), working Living and England. West ¶ The question of tone and style was something I I something was tone and style of The question Our language is a powerful tool, and the way we use it to to use it we way the and tool, a powerful language is Our In 2018 I was commissioned to write a non-fiction children’s children’s non-fiction write a to commissioned was I In 2018 - collected informa I guides. our and professors botanists, of and gently winds through a rainforest that is alive. ¶ is alive. that a rainforest through winds and gently and its destruction? Can I offer hope, or only ask for courage? for courage? ask or only hope, Can I offer and its destruction? guage of science be accessible? Can it still be poetic, fun, or fun, Can it still be poetic, science be accessible? guage of as much sensory content into the narrative in order to bring in order the narrative into content as much sensory miles. It weaves and twists, tumbles, crashes, whirls, gurgles whirls, crashes, tumbles, twists, and weaves It miles. playful? How do I tell the story of the world’s greatest forest forest greatest world’s the of the story tell do I How playful? book about the Amazon River (Rio Amazonas). The book would The book Amazonas). (Rio River Amazon the about book the about facts of wealth a contain and illustrated fully be is due to be published by Flying Eye Books in 2021. in 2021. Books Flying Eye to be published by is due into different ecosystems through the extensive knowledge knowledge extensive the through ecosystems different into ¶ to life. it its source in the mountains of Peru to its gargantuan mouth into its gargantuan Peru of the mountains its source in It should not be cold and distant, but warm and heartfelt. The and heartfelt. warm but be cold and distant, It should not wanted to unpick while in the rainforest. How can the lan- can How the rainforest. while in to unpick wanted fauna, flora, history and stories that span the Amazon, from from and flora, history Amazon, stories that the span fauna, talk about the natural world defines our relationship with it. it. with relationship our defines world natural the about talk In Manaus (Brazil), along the Negro River the Negro River along ¶ In Manaus (Brazil), Brazil. the east of tion, listened to the rainforest, watched the water, and wove and wove the water, watched tion, listened to the rainforest, (Rio Negro) and into the forest, I gained an incredible insight I gained an incredible insight forest, the into and (Rio Negro) Amazon River is not just a body of water that travels 4,000 4,000 travels that water of just a body is not River Amazon ¶ ¶

ANGELA FRANCIS 32

- - - - , in which Anne Jezini immerses herself herself immerses Jezini Anne which in , Anne Jezini was born and raised in Manaus (Brazil). She is the third generation third generation the She is in Manaus (Brazil). born and raised was Anne Jezini she recorded two studio albums and toured Brazil, and some of the concerts and some of toured Brazil, studio albums and two she recorded so a Paço (Amazonas, Brazil) and also at SIM São Paulo, the largest music con the largest Paulo, SIM São Brazil) and also at (Amazonas, so a Paço biodiversity and conservation, shortly after finishing the university she spent she spent university the finishing after shortly and conservation, biodiversity received positive reviews in Brazilian publications such as Rolling Stones and O such as Rolling in Brazilian publications reviews positive received on her working She is currently and samples. with beats produced rhythms of immigrants from the Middle East. Graduated in biology with an emphasis on in biology Graduated the Middle East. from immigrants of took place in two important festivals such as Se Rasgum (Pará, Brazil) and Pas (Pará, Rasgum such as Se festivals important two place in took (2016), his last album was chosen as one of chosen as one of was his last album (2016), Cinética America. in Latin ference and Beehype website the international by year that the best Brazilian albums of the Municipal Culture Foundation by awarded was whose project third album, songs called Pas on a series of working and is also through a public contest a period in London (UK) to study music, starting her career in 2012. Since then Since starting her career in 2012. music, to study (UK) a period in London , which seeks to represent stages of immersion in the Amazon ecosystem. ecosystem. Amazon the immersion in stages of to represent which seeks seio, VIMEO.COM/395654150 , 2019. Song written and produced Song 2019. de chá, Água Hilnando Mendes. by Photograph 2’27”. Anne Jezini, by newspaper. Its musical aesthetic uses references of Brazilian and Latin Latin Brazilian and of references uses musical aesthetic Its Globo newspaper. ¶ ↗ instagram.com/annejezini Passeio - Anne Jezi by produced written and a song de chá”, “Água of being within that specific ecosystem and to the synesthe- the to and ecosystem specific that within being of est that surrounds it. These elements were presented as a as a presented were These elements it. surrounds that est grew up inside the city without facing the river the for the or facing up river without the inside grew city ni, seeks to translate the physical sensation of swimming in in swimming of sensation the physical translate to seeks ni, and temperature as such knowledge, scientific of metaphors feeling the to precision give to biological material, of nature process of rediscovery the symbolization of the urban being, the urban being, of the symbolization rediscovery process of narrative as critical to her generation, including herself, who who herself, including to her generation, as critical narrative sia of all the senses involved. It is the first song and part of a of song and part first the It is the senses involved. all sia of called series that photograph The Amazon. surroundings of the looking at in her life experiences in Manaus (Brazil) and challenges her (Brazil) and challenges in Manaus experiences in her life illustrates the piece was taken by photographer Hilnando Hilnando photographer by taken was the piece illustrates Mendes on the Negro River during the art program. during Negro River the Mendes on the dark waters of the Negro River (Rio Negro). Poetry uses Poetry Negro). (Rio the Negro River of waters the dark ¶

ANNE JEZINI 36

Death By Plastic. Performance Plastic. Death By - - - I performed the first iteration of this project with this project of iteration first the ¶ I performed Anne-Katrin Spriess defines her work as a Conceptual Land Art. The Swiss artist lives Swiss artist lives The Art. Land as a Conceptual work her defines Spriess Anne-Katrin This project began in the summer of 2019 when my increasing concern increasing when my 2019 summer of the began in This project space takes on significance through the actions performed in it. Because of the close of Because in it. performed actions the through on significance takes space sponsibility she feel towards the planet, much of her work addresses and calls attention addresses and calls attention work her much of the planet, towards feel she sponsibility hours or days at a time. Before they are disassembled and the landscape is returned to the landscape is returned disassembled and are they Before time. a at hours or days re the deep sense of and work, through her she has developed nature, with connection over the proliferation of plastics led me to create a series of “trash “trash of a series create to led me plastics of the proliferation over of the problem is that consumers have become incredibly lazy. The The lazy. become incredibly consumers have that is the problem of come and one of my colleagues from LABVERDE insisted, I perform LABVERDE I perform insisted, from colleagues my come and one of to environmental issues. ↗ www.annekatrin.info issues. to environmental tion creates a great distance from the “real” world. Spriess’ projects exist only for a few few a for only projects exist Spriess’ world. “real” the from distance a great tion creates video through large-scale photography, work her she documents its original condition, and text. In several of her projects, performance and ritual assume an essential role, and role, essential an assume ritual and performance projects, her of several In text. and and works in New York (USA), and is interested in spaces, both physical and psychological, and psychological, physical both in spaces, and is interested (USA), York in New works and wide-open site-specific projects in She creates to one another. relate two the and how civiliza hectic and busy from severance the where landscapes, remote extremely and globally. I built a Plexiglas casket and covered my body with plastics plastics with body my and covered casket I built a Plexiglas globally. and re-used, the reality is our planet is being smothered in plastic. Part Part in plastic. smothered is being is our planet the reality and re-used, about from a feeling of helplessness (in terms of my consumerism), consumerism), my of terms (in helplessness of feeling a from about - fel to interview I decided LABVERDE residency. during my portraits” - dis and documenting before habits their on reflect to and program Immediately with local regulations. the items in accordance posing of low artists about the refuse they accumulated over the course of the the course of over accumulated they the refuse artists about low but also as a way of drawing attention to the items that we think (or (or think we that the items to attention drawing of way but also as a of Many and are instead being landfilled. recycled are getting hope) processed being were sorted carefully we recyclables the assumed us began to realize how much this work resonated with people and how and how with people resonated work this much how to realize began This project came these issues. to attention to draw it is necessary supposedly recyclable materials were being landfilled or incinerated or incinerated being landfilled were materials recyclable supposedly larger issue is that corporations continue producing and packaging producing and packaging continue corporations that larger issue is will be performing phase next The problem. this solve to occur must in plastics which are often unrecyclable. A significant paradigm shift significant A which are often unrecyclable. in plastics and disposal issues. with plastic influx in additional localities dealing following this project, I was working in Moab, Utah, and was shocked shocked was and Utah, Moab, in working was I project, this following Death by Plastic. Death by to discover that since China’s plastic import ban, vast amounts of of amounts vast ban, import plastic China’s since that discover to titled a series The result is an ongoing recyclable. no longer were that the out when I shared locals and team of an enthusiastic the help of the piece in her native Venice where the issue was equally pressing. I pressing. equally was the issue where Venice the piece in her native ¶ ¶

ANNE-KATRIN SPIESS 40

, 2019. Video 12’. installation, , is 2019. Forest World for The Word ------Bárbara Sánchez Barroso lives in Belgium and works in video and installation. video and installation. in works and in Belgium lives Barroso Sánchez Bárbara , Bárbara Bárbara , is Forest World for The Word the project For seum of Contemporary Art (MOCA) of Taipei (Taiwan). She has screened her (Taiwan). Taipei of (MOCA) Art Contemporary seum of books and cinema featured in her practice. Her main interests are in the polit the in are Her main interests practice. her in featured cinema and books work in Jordan and the United Kingdom, and has been a lecturer at Universitat Universitat been a lecturer at and has the United Kingdom, in Jordan and work hibited at Fundació Joan Miró and La Capella, Barcelona (Spain); and in group in and (Spain); Barcelona Capella, La and Miró Joan Fundació at hibited relations between memories and fiction. She is also interested in the relation the relation in She is also interested fiction. memories and between relations removed far forest in a year a for and she lived nature, humans and between conceptual territory: the Amazon. Although the artist’s rela the Although artist’s Amazon. the territory: conceptual creative and introspection path. The suggestive title of the of title suggestive The path. introspection and creative novel fiction science homonymous the to refers exhibition er Institute for Fine Arts in Ghent (Belgium). Her works are part of the Han are part of works Her (Belgium). Arts in Ghent Fine for er Institute exhibitions at MHKA, Antwerp (Belgium); Rathaus-Galerie Reinickendorf, Berlin Reinickendorf, Rathaus-Galerie (Belgium); Antwerp MHKA, at exhibitions experimentation, work in progress, research. We are in a are in a We research. in progress, work experimentation, ical dimensions of the personal and the vulnerable, the power of narrative, and narrative, of the power vulnerable, the the personal and ical dimensions of she has been explor Recently life. in her daily the stories hidden in encounters the and through autoethnography other the of portraying difficulties the ing who as a storyteller to describe herself She likes she had known. anything from ex been has work Her fiction. into life the boundaries of transcend to tries da (Spain); Centro de Arte Contemporáneo de Quito (Ecuador); Sala Amadís, Amadís, Sala de Quito (Ecuador); Arte Contemporáneo de Centro da (Spain); and leads us to reflect on the critical action of human be human of action critical the on reflect to us leads and and its complexity constitutes a step further in her own in her own further constitutes a step and its complexity Nefkens Foundation and the Naturgy Foundation. ↗ barbarawong.info Foundation. the Naturgy and Foundation Nefkens Madrid (Spain); B’Chira Art Center, and Tunis and Fran Reus Gallery, Mallorca Gallery, and Fran Reus Tunis and Art Center, B’Chira Madrid (Spain); Her studies of art, literature and audiovisual work are shown in the research, research, the in are shown work audiovisual and literature art, of studies Her Barcelona (UB). Currently she is doing her post-graduate studies at the High studies at she is doing her post-graduate Currently (UB). Barcelona by Ursula K. Le Guin, published in 1972, in which the Amer the which in 1972, published in Guin, Le Ursula K. by numerous experiences and reflections, entering the Amazon Amazon the entering and reflections, numerous experiences ican writer condenses and interrelates issues of coloniza issues of writer condenses and interrelates ican these around travels Barroso Sánchez nature. towards ings than questions are more important the where in rigid lines, speculations, placing her creative proposal in the field of of field the in proposal creative her placing speculations, practice, own her with dialoguing is artist the where space Sánchez Barroso embarks on a new and complex geographical, and complex new on a embarks Barroso Sánchez where the thought flows without being marked and enclosed without being marked flows thought the where (Spain). She has upcoming exhibitions in Lecce and Lissone, Italy and in the Mu the in and Italy Lissone, and Lecce in exhibitions upcoming has She (Spain). (Germany); Naturgy Foundation, A Coruña (Spain); Centre d’Art La Panera, Llei Panera, La d’Art Centre Coruña (Spain); A Foundation, Naturgy (Germany); Text by Herman Bashiron Mendolicchio Herman Bashiron by Text ¶ the answers. tion, deforestation, slavery, sleep and violence. In the novel, the novel, In violence. sleep and slavery, deforestation, tion, consciousness challenges ecological metaphor forest the tionship with the forest, and deep nature has gone through through has gone nature and deep forest, the with tionship ¶ ¶

BÁRBARA SÁNCHEZ BARROSO 44

, 2019. LED lights, recycled acrylic, aluminium, environmental data, computer, and mixed media. and mixed computer, data, environmental aluminium, acrylic, recycled LED lights, 2019. Breathe, - - - - PluginHUMAN is the recipients of the 2020 the 2020 of the recipients PluginHUMAN is ¶ During LABVERDE Betty immersed During LABVERDE Betty

¶ - she de what nd experienced PluginHUMAN is a multi-award-winning art-technology duo featuring Austra featuring duo art-technology PluginHUMAN is a multi-award-winning lian artists Dr Betty Sargeant and Justin Dwyer. They have exhibited in Europe, in Europe, exhibited have They and Justin Dwyer. Sargeant lian artists Dr Betty stallations. They have an acute understanding of the role that technology plays plays technology that the role an acute understanding of have They stallations. of a human to digital encounter. encounter. to digital a human of neutral and carbon negative working practices. They won a Good Design Award Award a Good Design won They practices. working neutral and carbon negative ed commissioned artworks for institutions such as the National Taiwan Muse Taiwan the National institutions such as for ed commissioned artworks um of Fine Arts (Taiwan), the Asia Culture Centre (South Korea) and Questacon Korea) (South Centre Culture Asia the (Taiwan), Arts Fine of um in contemporary society. Their progressive work places people in the center the center in places people work Their progressive society. in contemporary North America, Asia and Australia. PluginHUMAN creates immersive light in light immersive PluginHUMAN creates Australia. and Asia America, North Rupert Bunny Foundation Visual Art Fellowship. They are investigating carbon are investigating They Art Fellowship. Visual Foundation Bunny Rupert (Australia’s National Science and Technology Museum). ↗ pluginhuman.com Museum). Technology and Science National (Australia’s (2018) and a Victorian Premier’s Design Award (2017). PluginHUMAN has creat (2017). Award Design Victorian Premier’s and a (2018) ¶ Directly after returning from LABVERDE, Betty Sargeant Sargeant LABVERDE, Betty from after returning Directly

herself in the Amazonian wilderness a Amazonian the in herself of a collective global wilderness. wilderness. global a collective of ecosystems. BREATHE features audio that Betty recorded in Betty that audio features BREATHE ecosystems. exhibited an immersive light installation called BREATHE, with called BREATHE, installation light an immersive exhibited creative works that were produced on site during her resi- produced on site during her were that works creative of being intertwined with the charismatic drives of collective collective of drives the charismatic with being intertwined of oping this piece into a large immersive media art installation installation art media immersive large a into piece this oping will artwork This the Phoenix. of Form Sublime: called Primal data that PluginHUMAN collected from Australian forests forests Australian that PluginHUMAN data collected from represents only not This artwork Panama. the jungles of and derness and they released this into forest areas of Australia Australia areas of forest this into released they derness and and nature. This experience led her to create two reflective reflective two create to her led experience This nature. and Amazon the mass inspired by was works these One of dency. - trans This artwork duo PluginHUMAN. her art-technology that one environment, to an “otherworldly” ports audiences international three significant from qualities hidden uncovers natural forces. It’s a symbiotic relationship between humans humans between relationship a symbiotic It’s forces. natural inHUMAN embodied some of the spirits of the Amazonian wil- Amazonian the the spirits of some of inHUMAN embodied be exhibited in late 2020–21. in late be exhibited she collected during LABVERDE. Through this artwork, Plug- this artwork, Through during LABVERDE.she collected scribes as the “primal sublime”. The primal sublime is a state The primal sublime is a state the “primal sublime”. scribes as where the installation was exhibited. BREATHE also features features also BREATHE exhibited. was the installation where - devel is now PluginHUMAN were occurring. that events fire three unique ecosystems, but it also reflects upon the idea the idea upon but it also reflects three unique ecosystems, the Amazon and gives visual form to environmental data that that data environmental to form visual gives and Amazon the ¶

BETTY SARGEANT FROM PLUGINHUMAN 48

Action — 5’–30’ . Action , 2019 Sap Tree the to Record and Auscultate To - - - In the book, The biologist Carolina de Barros and the visual artist Sim visual artist the and de Barros Carolina The biologist Simone Moraes is a visual artist from the city of Ribeirão Preto (São Pau (São Ribeirão Preto of the city from artist visual Simone Moraes is a Carolina de Barros was born in the city of Ribeirão Preto and raised in the city city the and raised in Ribeirão Preto of the city born in was Carolina de Barros lo, Brazil). She lives and works periodically between the Brazilian states of of the Brazilian states between periodically works and She lives Brazil). lo, Visual and Artistic Education Moraes has a degree in Paulo. Goiás and São traces researches currently She Ribeirão Preto. of the University from Arts through personal memory of organic structures and recovery landscapes, of and repetitions forms, result in that collections and expeditions records, col interventions, objects, into unfold They materials. different of overlaps at were exhibitions solo last The actions. and photographs drawings, lages, Art Museum Brazil) and Blumenau Paulo, Art Museum (São the Ribeirão Preto ↗ simonemoraes.net Brazil). (Paraná, ¶ ¶ the Cásper Líbe- from She has a degree in Journalism Brazil). Goiânia (Goiás, of in Biological Sciences student Brazil) and is a graduate Paulo, ro College (São - conserva wildlife in She has experience (USP). Paulo São of the University from in- was She children. for education food and environmental with tion and also and Caminho Marinho, the NGO turtles at green sea of the protection in volved school in a public of teaches students and at USP fish studies marine currently the 22nd of coverage the news in She participated Brazil). Paulo, (São Diadema (Morocco). in Marrakesh Conference UN Climate ¶ one Moraes, with the collaboration of the electric engineer electric engineer the of the collaboration with one Moraes, and to auscultate an equipment created have Danilo Sulino, the reading of inspired by was The idea tree sap. the record With a Wohlleben. Peter by Trees of The Hidden Life the book they and a recorder, headphones an amplifier, stethoscope, ¶ doing it. capable of an equipment created have a deeper institutions performed three Swiss from scientists The noise trees. of inside wheezing a little and recorded study of the crown when is that because night at made mostly was During breathes. and it barely tree stops its photosynthesis a the that the tree this accumulates so process, much water, concluded researchers have The expands. diameter trunk tree dioxide carbon small bubbles of the result of the noise is that More water. tubes filled with inside narrow formed (CO2) this action trees, the sap of to than recording and listening trees, the and people between interaction an to provide aims them physically, approach them, to see making humans able trees. inside of pulsating life feel them and touch

CAROLINA DE BARROS AND SIMONE MORAES 52

- - - ), named Sky), do céu (The Falling queda A ) (2018), which became ) (2018), Waters das águas (Meeting of Encontro , 2019. Laminated archival inkjet prints and wood and prints inkjet archival Laminated 2019. Sky, The Falling queda do céu | A at the Los Angeles Municipal Art Gallery. Also Art Gallery. Angeles Municipal the Los Modern at Be to Condemned , her work was included in the exhibition Mundos Alternos: Art and the exhibition included in Sci was LA/LAwork her , PST: The Amazon rainforest has been a recurring subject in my work, providing providing work, subject in my a recurring has been rainforest Amazon The 2019), a Fellows of Contemporary Art Fellowship (California, USA, 2019), an Artadia Los Angeles Award Award Angeles Artadia Los an 2019), USA, (California, Art Fellowship Contemporary of a Fellows 2019), ↗ clarissatossin.net Arts (USA). Institute of the California from She holds an M.F.A. 2020). of colonization following haptic, sonic, and affective approaches to material, ecological and architec to material, approaches and affective sonic, haptic, following colonization of cal manifesto, further engages with themes of ecological precarity and social ecological precarity themes of with engages further cal manifesto, the subject of a solo exhibition at the Blanton Museum of Art in Austin (Texas, USA). The project un USA). (Texas, Austin Art in Museum of the Blanton at a solo exhibition the subject of As a Radcliffe Institute Fellow at Harvard University (USA, 2017-18), 2017-18), (USA, University at Harvard Fellow Institute a Radcliffe As ¶ in 2019. the Queens Museum (USA) for Contemporary Art, Tel Aviv (Israel); Iberê Camargo Foundation, Porto Alegre (Brazil); La Kunsthalle Kunsthalle Alegre (Brazil); La Porto Foundation, (Israel); Iberê Camargo Aviv Tel Art, Contemporary for Tossin’s work has been exhibited widely, including in the exhibition the exhibition in including widely, has been exhibited work Tossin’s ¶ didacticism. beyond tural inquiry Advanced of Institute the Radcliffe commissioned by (2019), Future Fossil exhibition, a new into folded Middletown University, Wesleyan Zilkha Gallery, Francisco; Ezra and Cecile Arts (San Contemporary for in conjunction with to negotiate hybridization of cultures and the persistence of difference. She engages with questions with questions She engages difference. the persistence of cultures and of hybridization to negotiate an Artistic Innovation project grant from the Center for Cultural Innovation (Los Angeles, USA, 2012). 2012). USA, Angeles, (Los Cultural Innovation for the Center from project grant Artistic Innovation an - and cosmoecologi autoethnography, Kopenawa’s Davi leader Yanomami after and people. Since 2010, I have engaged with Amazônia’s invisible landscapes and landscapes invisible Amazônia’s with engaged I have Since 2010, people. and a rich study in the impacts of global commodity chains and by extension, the extension, by chains and global commodity of the impacts in a rich study Museum of Latin American Art, Long Beach (California, USA); Harvard Art Museums, Cambridge (USA); Cambridge (USA); Art Museums, Harvard USA); (California, Beach Long Art, American Latin Museum of Marl, Glaskasten (Brazil); and Skulpturenmuseum Paulo São Pompeia, Sesc Mullhouse (France); Mulhouse, USA, York, (New Arts Grant Contemporary for a Foundation of the recipient is Tossin ¶ Marl (Germany). Pacific Standard Pacific as part of (USA) Angeles Los of the city from a commission received Tossin In 2017, highlighted the legacy of extractive industrial incursions through installation, through installation, industrial incursions extractive of the legacy highlighted agribusiness by land created partition of geometric the resemble to made The suspended rotating view. or bird’s-eye images satellite from visible mostly perpetuation of colonial forces enacted on the region’s environment, cultures, cultures, environment, the region’s on enacted forces colonial of perpetuation at the UCR/California Museum of Photography (USA), which traveled to traveled which (USA), Photography of Museum UCR/California the at Americas the ence Fiction in sculpture, video, and photography. ¶ and photography. video, sculpture, SITE Santa Fe (New Mexico, USA); Queens Museum, New York (USA); and internationally at the Center the Center at and internationally (USA); York New Queens Museum, USA); Mexico, (New Fe SITE Santa Study at Harvard University. Tossin’s work has been exhibited domestically at the CCA Wattis Institute Wattis the CCA at domestically has been exhibited work Tossin’s University. Harvard at Study , at the Denver Art Museum (USA, Art Museum (USA, the Denver at , and ReVisión 2020) USA, (Massachusetts, MassMoCA, at a Curtain, with Nasa images of the Mars plane named after the forest (Amazonis Plani- (Amazonis forest the the Mars plane named after with Nasa images of at the Whitney Museum of , of Museum Art at Indigenous Space , Modern Architecture Whitney the New Wasichay: Llaqta, Pacha, justice. The weavings combine satellite images of the recent fires in Amazônia Amazônia fires in the recent images of satellite combine weavings The justice. futurity, post-human landscapes and the ruins of a world yet to come. yet world a the ruins of landscapes and post-human futurity, (Connecticut, USA); Hammer Museum, Los Angeles (USA); Museum of Contemporary Art Detroit (USA); (USA); Art Detroit Contemporary of Museum Angeles (USA); Los Hammer Museum, USA); (Connecticut, and 2014); (USA, Foundation Community the California from Artists Visual for a Fellowship 2018); (USA, tia), the Amazon River (Rio Amazonas) and the Milky Way. The patterns were were The patterns Way. the Milky and Amazonas) (Rio River Amazon the tia), visions of project ambiguous that planets of a constellation suggests triptych Clarissa Tossin is a visual artist who uses installation, video, performance, sculpture, and photography and photography sculpture, performance, video, who uses installation, visual artist a is Tossin ¶ Clarissa Upcoming exhibitions include a solo show at La Kunsthalle Mulhouse (France, 2020); Kissing Through 2020); Mulhouse (France, Kunsthalle La at include a solo show ¶ Upcoming exhibitions American Art in New York (USA, 2018), and in the 12th Gwangju Biennale in Gwangju, South Korea (2018). (2018). Korea South Biennale in Gwangju, 12th Gwangju the and in 2018), (USA, York Art in New American Tossin worked towards the installation towards worked Tossin for the exhibition LA/LATime: the exhibition for ¶

CLARISSA TOSSIN 56 58 , 2019 Amazon? Save Can We - - - In my incursion my In ¶ In the past 40 years, WE WE years, 40 past the In

¶ I belong to this PLACE but… but… PLACE this to I belong

¶ Are we not able to give back to the forest Are we not able to to the forest give back Cristina Ataide is a visual artist. She lives and works in Lisbon (Portugal). Her in Lisbon (Portugal). works and She lives visual artist. is a Ataide Cristina lematics about the refugees, are always going around her personal and artistic her going around are always the refugees, about lematics sculpture and drawing, going through photography and video. The concerns video. and through photography going drawing, and sculpture work, most of the time is done during the artist’s travelling, transits between transits between travelling, the artist’s time is done during the most of work, preoccupations. The migration problematic, for instance, it is possible to see in see to possible is it instance, for problematic, migration The preoccupations. (Italy), in Rome exhibition travelling the at present her NO NAME installations, national Biennale (Azerbaijan). Cristina Ataide has enrolled in different artist has enrolled in different Ataide Cristina Biennale (Azerbaijan). national Winter 2017; Hangar Residence, Walkscapes, Ethiopia example for residencies, of ecological crimes, the preservation of nature, and in her last years, the prob years, and in her last nature, of the preservation ecological crimes, of und Zugenauht, Wittenberge (Germany, 2014). The work she has been doing af she has work The 2014). Wittenberge (Germany, Zugenauht, und ter her immersion in the Amazon forest with LABVERDE will be shown this year, year, this with LABVERDEwill be shown forest Amazon the ter her immersion in about nature are one of the most constant worries in her work. The denounce The work. her in worries constant most the of one are nature about Madrid (Spain), France, Brno (Czech Republic), and last year at 6th Baku Inter 6th Baku at year and last Republic), Brno (Czech France, Madrid (Spain), Workspace Program, Glyndor Gallery Wave Hill (New York, USA, 2014); Verflixt Verflixt 2014); USA, York, Hill (New Wave Glyndor Gallery Program, Workspace ↗ cristinataide.com ↗ cristinataide.com Brazil). Museum (Recife, the MAMAM at June 2020, ¶ ¶ The forest, this green ocean, has contributed, for for has contributed, ocean, this green forest, The

¶ I am immersed in this great and involving rainforest in the in rainforest involving and great this in immersed am I metaphor, rescue blankets (today dramatically observed in in observed dramatically (today rescue blankets metaphor, heart of the Amazon region. The feeling of happiness and and happiness of feeling The region. Amazon the of heart here! lived I’ve home! Elsewhere, us from many catastrophes, and now, WILL WE NOT BE ABLE ABLE BE WE NOT WILL and now, catastrophes, many from us with this gesture, to symbolize the urgent need to protect to protect need urgent the to symbolize this gesture, with thousands of years, to stabilize our climate by protecting protecting by climate our stabilize to years, of thousands through the forest tracks, through the igapós or in igarapés, tracks, through the forest as a protective down, I laid Tower, ZO2 the or the savannah seeking, Sea) the Mediterranean in refugees the rescues of this unique Forest. this unique place will disappear… disappear… will place unique this the protection it has constantly given us? given constantly has it protection the tranquillity is unparalleled and difficult to explain. I feel at feel I explain. to and difficult is unparalleled tranquillity (so-called “civilized people ???”), have destroyed 20% of the the of 20% destroyed have ???”), people “civilized (so-called ?????? ?????? Amazon rainforest. What will happen in the next 40 years years 40 the next will happen in What rainforest. Amazon ¶ TO PROTECT IT? IT? PROTECT TO

CRISTINA ATAÍDE 60

(Work in Progress) (Work Resistance. as a Mode of Working - Complexity ------conference in Dublin (Ireland), in Dublin (Ireland), conference Trace: Journal for Human-Animal Human-Animal for Journal Trace: . These Objects. repre Research Onto-metrical dmgaietto.com

Dawn M Gaietto is a lens-based artist working and living in London (UK). Her doctoral (UK). and living in London working artist is a lens-based M Gaietto Dawn lows for the momentary lapse in preconceived notions, the entertaining of a conceptu a of entertaining the notions, lapse in preconceived the momentary for lows space. This intervention allowed for a potential reconfiguring of viewership —creating new new —creating viewership of reconfiguring potential a for allowed intervention This space. being-in-the-world. Presenting at Art at in Anthropocene the Presenting being-in-the-world. was an extended an extended was the nonhuman] of [exploits research project What is happening here? Art, Fine of the Slade School at completed art”, term “anthrodecentric the for proposal formulations of sustainability — both in the art-making practices and a wider practice of practice of wider practices and a the art-making in — both sustainability of formulations these notions were examined through the relationship of the fox and the dog in the En dog in the and fox the of the relationship through examined were these notions al framework in which the nonhuman acts upon and influences the existence of a human. a human. of existence the the nonhuman acts upon and influences which in framework al , Type include Moveable publications Recent garden. glish University College London. Dissecting small components of the agency of a nonhuman al a nonhuman of the agency of Dissecting small components College London. University . ↗ and J.A.W.S Studies, A recent project focused on the instantiation of a functional pigeon loft within a gallery within a gallery loft pigeon functional a of instantiation the on focused project recent A ¶ ered, and remixed? The known-unknowns and the unknown-unknowns the unknown-unknowns and The known-unknowns remixed? and ered, un into research line of this begin To forest. the complex commingle in attempts to look at specific interactions as points in time and space time in as points interactions specific at to look attempts and geometry. ontology of the intersection through being known and of developed a series of a series of developed derstanding how complexity can function as a mode of resistance to resistance of a mode as function can complexity how derstanding a challenge, an opportunity to learn? Is chaos not the line, repeated, lay repeated, the line, not Is chaos learn? to an opportunity a challenge, knowing, of domination (over time scales exceeding the human), I have I have the human), scales exceeding time (over domination of knowing, sentations of experience through image, diagram, and language are diagram, image, through experience of sentations to articulate commingling activities and acts of resistance, to knowing to knowing resistance, and acts of commingling activities articulate to Is knowledge afraid of chaos? Of complexity? What is to her feared of of feared to her is What complexity? Of chaos? of afraid ¶ Is knowledge

DAWN M GAIETTO 64 , 2019. a Forest Writing fine art Work, Book - - - - - ¶ (2001), and organized the publica the organized and (2001), Horizon Line of Such an almost fictional landscape, a landscape, fictional almost an Such (2013) and (2013) and its poetics the object book thousand: one and Between ¶ (1997); and (1997); Line Sewing Edith Derdyk is a Brazilian artist, author and designer from São Paulo (Brazil). (Brazil). Paulo São from author and designer is a Brazilian artist, Edith Derdyk has always been the structure which the poetics of her work has developed has developed work her of the poetics which the structure been has always of São Paulo, Cultural Center of Banco do Brasil, Museum of Contemporary Art, Art, Contemporary Museum of do Brasil, Banco of Cultural Center Paulo, São of edithderdyk ↗ issuu.com/livroedithderdyk/docs/livro_edith_derdyk edithderdyk tions around. She produces drawing, engraving, photography, installation work, ob work, installation photography, engraving, She produces drawing, around. de Estudios Críticos (Mexico City), Proac, FUNARTE, Porto Seguro, the Paulista the Paulista Seguro, Porto FUNARTE, Proac, City), de Estudios Críticos (Mexico Ways of Thinking: The Drawing of Human Figures (1988- The Drawing of Thinking: of Ways the author of is Derdyk 89); 89); She attended the Instituto de Arte e Decoração (São Paulo), and studied Fine and studied Paulo), Arte e Decoração (São the Instituto de She attended jects and bookworks. She has exhibited her work in Brazil at MASP, Pinacoteca Pinacoteca MASP, in Brazil at work her She has exhibited jects and bookworks. (2010). She has received support from the Instituto the from support received has She (2010). Disegno.Drawing.Design Artes; and in Germany, USA, Colombia, Spain, Mexico, Switzerland and Denmark. and Denmark. Switzerland Mexico, Spain, Colombia, USA, and in Germany, Artes; Arts at the Armando Alvares Penteado Foundation — FAAP (São Paulo). The line Paulo). (São — FAAP Foundation Penteado Alvares Armando the Arts at ¶ ↗ cargocollective.com/ ↗ others. and Centre, The Banff Art Critics, of Academy Tomie Othake Institute, MAM, MAC, Paço das Artes, Paço Imperial, Palácio das Palácio Imperial, Paço Artes, das Paço MAC, MAM, Institute, Othake Tomie The ostensive presence of the symbolic imaginary imaginary the symbolic of presence The ostensive ¶ - our imag of part been always has rainforest Amazon The whose images are constructed through overlapping lay through overlapping whose images are constructed est ers, crossed by the spelling of light that inscribed me in the in me inscribed that light of spelling the by crossed ers, the the order of The clash between forest. a of experience est drew a state of strangeness and crossing at maximum at crossing and strangeness of state a drew est - pre-col the ancient presence of the peoples, forest the of Symbolic risk. at resources of wealth a European, onization and utopian memory. and utopian memory. dumbfounded, especially in this historic moment when the when this historic moment in especially dumbfounded, power — nature so natural and so distant. This is the driv This is and so distant. so natural nature — power - exis ours (im)probable for becoming continuous of present imaginary and the real, between the symbolic and the face- the and the symbolic between the real, and imaginary ist book. ist book. - For Amazon the of space and existing the real inhabiting ination: a lost paradise, the lungs of the planet, the secret secret the the planet, lungs of the lost paradise, a ination: ing force whose breaking of speech left me speechless. I was was I left speech me speechless. of breaking whose force ing a place. to erase is intention - the For Writing book the artist from pages Here are some this art the of the fabulations to were ingredients activate to-face, between fiction and the construction of a landscape, a landscape, of the construction fiction and between to-face, lived, yet not with a body body a known the impasse between tences of the future — caused me to “break the discourse”. “break to — caused me future the tences of ¶

EDITH DERDYK 66

------elisabettazavoli.com Insects are the foundation of the food chain that supports our exis supports that chain food the of foundation the are Insects Sara Michieletto is a violinist, trainer in pedagogy of emotions and violin teacher. She teacher. violin and emotions of trainer in pedagogy violinist, is a Michieletto Sara Elisabetta Zavoli is an Italian freelance documentary, graduated in Environmental Scienc in Environmental graduated documentary, freelance is an Italian Zavoli Elisabetta es at University of Bologna, Italy, in 2001, with a Master in Photojournalism at Contrasto Contrasto at Photojournalism a Master in with 2001, in Italy, Bologna, of University at es on works where she mostly in Jakarta, is based Zavoli Since 2012, Italy. in Milan, Agency Za issues and gender issues. environmental projects regarding long-term documentary in Indonesia has been ecosystem mangroves of depletion the project documenting voli’s European by Reporting in Development Innovation for Grant Journalism in 2016, awarded, been published on major interna videos and articles have Her photos, Journalism Centre. 19 ex in has been shown work her photographic and only tional media and press agencies, ↗ world. the all over in 9 countries solo and collective, both hibitions, ¶ a pupil Volpato, Maestro Giuseppe the guidance of under marks full with is graduated Michielet tradition. Venetian the in maestros most important the one of Ferro, Luigi of ¶ tence, along with all the other life on the planet. Scientists say that a a that say Scientists planet. the on life the other all with along tence, in a “bottom-up Armageddon” “ecological numbers risks crash in insect tem and in forests tropical in both studies Recent trophic cascade”. the number of collapse in a showed world, the all over forests, perate in word The three decades. the last 75% and 98% over insects between Our project “which is cut”. in-sectum meaning Latin from secta derives the environment from “divided” feeling to the question wants concept of the offering by world, the of perspective humankind’s permeates that percep being’s a non-human living into stepping experience to viewer artis free as a videography used IR has Zavoli Elisabetta reality. tion of by perceived visually is seen and forest the how of tic interpretation with her Sgarabotto forest, the plunged into Michieletto Sara insects. con expanded of sort A improvisation. and listening through violin, the tall, Among what she was playing. the sciousness took control of thumbnail, sonic a into lead was she softa on ground, and trees, dense perspective. the insect’s from music understanding and playing France, Austria, India, China, Japan, such as: Indonesia, countries, in many to performed - Pales Denmark, Hungary, Italy, Spain, England, Germany, Slovakia, Republic, Czech Brazil, (1987–2018). Algeria Herzegovina, and Bosnia UAE, Eritrea, Kenya, Mozambique, U.S.A, tine, - musi of and implementation the conceptualization for responsible was Michialetto Sara Italian Embassies, UNESCO, with: UNDP, competence on emotional focused cal projects Theatre Fenice La Alliance Francaise, Education, Ministries of Italian Cultural Institute, - musical and intercul through Commerce and Industry, Italian Chamber of Foundation, the of theatre and management conflict therapy, music theatre, dance tural pedagogy, ↗ musicofemotion.org oppressed. ¶

ELISABETTA ZAVOLI AND SARA MICHIELETTO 70

In-Sectum, 2019. Art technique: multimedia video. Duration: 4’03’’. VIMEO.COM/409972037 (Work in Progress) (Work Seek. - - - - - ¶ - form dynamically, is created Seek ¶ Faisal Anwar is an artist, creative technologist and interaction designer based in Cana designer technologist and interaction creative is an artist, Anwar Faisal ¶ da. Anwar explores sociopolitical spaces and patterns in ecologies that intrigue the mind intrigue that in ecologies spaces and patterns sociopolitical explores Anwar da. and utilizes is often interactive work His experiences. participatory through multi-layered are blurring lines between rights-of-access how to question and engagement public data pre streets”, project “I see my Anwar’s territories. new form to and public spaces private spa the between a relationship investigates (Pakistan), Biennale 2017 the Karachi at sented “En(Light)”, work, Another Neo-tech mindsets. cities and our of dimensions tio-temporal responsive LED lights dynamically-controlled with large-scale outdoor sculpture is a 2017, me His new and audience engagement. patterns, weather changes in temperature, time, to projected on was which 2016, include “Charbagh”, with open data created dia installations quadrilateral Islamic and based on Indo-Persian (Canada) Toronto Khan Museum in Aga the and visualizes tracks, It sub-continent. that in work tile traditional and geometry garden the Cana of is a graduate Anwar via social media platforms. generated content archives and (2004), Program Arts and Entertainment Interactive Habitat-LAB, dian Film Centre’s (1996). Arts Pakistan College of the National from in Graphic Design his Bachelors received Seek in an interactive installation, envisioned by the artist, Faisal Faisal the artist, by envisioned installation, in an interactive Seek The Artist collaborates with Dr. Kevin Fraser, Associate Professor, Professor, Associate Fraser, Kevin with Dr. Artist collaborates The University of Manitoba (Canada), & Dr. Mario Cohn-Haft, National National Cohn-Haft, Mario & Dr. Manitoba (Canada), of University have the scientists Both (INPA). Amazon the in Research for Institute around gathering and data their research towards work outstanding America and Brazil. in North migration the bird’s The project goals are: ↘ Awareness hopeful something into depression’ ↘ Change ‘climate to small changes in real-time response a positive ↘ Give the effect see people ↘ Let ¶ ing bird flocking based on archived and real-time data. Through Seek, Seek, Through and real-time data. based on archived flocking ing bird new ask hopefully, impact, the understand visually will the scientists audi- and museum a gallery For impacts. future predict questions and ecology integrated the impact of to understand them it allows ence, time- A difference. to making a can contribute they on earth and how to make action concrete into puts information that based experience future. a positive for the course visible and set impact ¶ explores The project 2019. LABVERDEthe during Residency Anwar artistic and poetic, to conceive large “dataset” with work to ways of methods new to create help scientists engagements, meaningful with bridging art while storytelling, into information of dissemination and nature. technology science,

FAISAL ANWAR 76

, 2019. Installation. Excavated Amazon soil, branches and sisal rope, varied measures varied branches and sisal rope, soil, Amazon Excavated Installation. 2019. Archaeologies, Provoked The work developed is developed work The

¶ The initial approach arose

¶ Human action leaves traces, traces and material and conceptual residues that, over time, time, over that, residues and conceptual and material traces traces, action leaves Human Provoked Archeologies is the title of the work originated during a research carried out in during a research originated work the title of the is Archeologies Provoked Felipe de Ávila Franco (Brazil, 1982) holds an MFA diploma from the University of the Arts Helsinki (2017). Based Based Arts Helsinki (2017). the of the University from diploma 1982) holds an MFA Franco (Brazil, Ávila de Felipe events, which reflect on the environmental dystopia of our time and, through a wide and and wide through a time and, our of dystopia the environmental on which reflect events, - the poten to absorb filter become a kind of to process artistic my I allow analysis, careful of stimuli pointed to questions related to the ideals of territory, belonging and spirituality spirituality belonging and territory, ideals of the to to questions related stimuli pointed of whole the unconscious of the collective still inhabit that but their identity, for essential worth mentioning his latest participation at the 3rd Triennial of Contemporary Art of Tbilisi (Georgia); the solo the (Georgia); Tbilisi of Art Contemporary of Triennial 3rd the at participation latest his mentioning worth GalleryKiasma. the Finnish National Brazil) and Paulo, (São the MAB collections such as different integrate works on Helsinki (Finland) since 2013, he works between Finland and Brazil, as the only artist currently active in both both in active artist currently the only as Finland and Brazil, between works he on Helsinki (Finland) since 2013, It is aesthetics. and environmental to artistic materiality topics related art scenes approaching contemporary Center Art at KAI artist first selected resident Finland); (Espoo, Hanaholmen Gallery at Insolit Solids exhibition domestication of the environment and the entities that compose it. that the entities and the environment of domestication become more and more permanent. Such action and the residues that result from it have it have from result that residues the action and Such permanent. more and more become with itself. and the environment and human society between the conflict and relationships rainforest. The work proposed to explore the artistic potential and materiality present in present and materiality the artistic potential to explore proposed work The rainforest. presence, subverting the narrative of an excavation made from the outside in or whether whether or in outside the from made excavation an of narrative the subverting presence, ples of preservation, protection and protection. The contrast between the shape and geo- between The contrast and protection. protection preservation, ples of confronts precise manner, out in a carried excavation the of proportion metric-Cartesian tied up and state the raw branches in a ladder made of the presence of In addition, manner. part of a series of searches carried out in the space of the Adolpho Duque Forest Reserve Reserve Duque Forest Adolpho the space of the searches carried out in a series of part of human society, today diluted in modern thought and distorted through the principles of the principles of through and distorted thought diluted in modern today human society, more elaborate humanistic and psychoexperiencial. The direct contact with that universe universe that with The direct contact humanistic and psychoexperiencial. more elaborate but during the experience of immersion in the tropical forest, the essence of this search this search the essence of forest, tropical the immersion in of the experience but during Residency Program 2019 (Tallinn, Estonia); and the collective show “Coexistence” at Kiasma in 2019 (Helsinki). His (Helsinki). in 2019 Kiasma at “Coexistence” show collective the and Estonia); (Tallinn, 2019 Program Residency ↗ www.felipedeavila.com website the artist’s at is available More information integrity of the space and affects it aggressively, manifesting an antithesis of the princi- of an antithesis manifesting it aggressively, the space and affects of integrity My artistic work is dedicated to investigating questions about the materiality of these these of the materiality questions about investigating to is dedicated work artistic My with sisal rope emerging from the gap dug in the ground, suggests an unseen and fleeing fleeing suggests an unseen and the ground, dug in the gap from with sisal rope emerging was transferred to an investigation on the soil materiality from a perspective of nature nature of a perspective from the soil materiality on to an investigation transferred was Guided by the principles of sculpture, my artistic practice addresses materials, places and places materials, practice addresses artistic my sculpture, the principles of Guided by the potential to shape landscapes and affect perception, human behavior and social ties. ties. and social behavior human perception, and affect to shape landscapes the potential the LABVERDE International Residence in 2019, and which sought to take an artistic look at at look an artistic take to which sought and in 2019, the LABVERDE Residence International Amazon the the soil of from emanate that relationships the organic and phenomenological the same at taken, which it is in through interventions activated when soil Amazonian the work. the for and as a support material as a primordial raw time, from the inside out, leaving it unclear whether whoever made it, got there or escaped there. there or escaped got made it, whoever whether it unclear leaving the inside out, from to investigate, protect and preserve, at the same time that it provokes a rupture with the with a rupture it provokes that time same the at and preserve, protect to investigate, urgent and relaxed a in soil and abandoned exposed extracted, the misshapen heap of the from issues related to the degradation of the soil in the Amazon caused by human action, human action, caused by Amazon the the soil in of the degradation to issues related from tialities destructive substances present and that these can be diluted into creative powers. powers. creative diluted into these can be that and substances present tialities destructive that constitute, not only the core of the thought of indigenous ethnicities and that are are that and ethnicities indigenous of thought the of core the only not constitute, that ¶ (Manaus, Brazil) and operates through existing tensions in an archaeological excavation. excavation. archaeological an in tensions existing through operates and Brazil) (Manaus, ¶ ¶ This meticulous and analytical action of temporality proposes to excavate the soil in order the soil in to excavate proposes temporality and analytical action of This meticulous

FELIPE DE ÁVILA 80

conectada comigo mesma comigo conectada os outros com arte com a sensação de criar com a que brotam com ideias do desejo troca com os outros da através do conhecimento de vidas outras de outras pessoas vidas penso em outras que eu poderia ter tido dia terei um ou que ainda nessa vida a emoção que me invade sensibiliza mais aberta me sinto tocar o céu que querem como as Samaúmas presente aqui, email... skype, whatsapp, wifi, sem internet, a proposta é estar atenta observando absorvendo, a proposta é descobrir perspectivas me redescobrir em novas paisagens novas estados de consciência em novos e experiências vivências em expandida temporários em ócios criativos e produções não estressantes tranquila e atenta estou a cada minuto um pouco mais e me sinto floresta é como escutar a si mesmo escutar a para casa volta é como percorrer um caminho de são muitos verdes os e texturas são inúmeras formas os rios e mares florestas, as vida e de expressão de formas são que nos perdemos e por quê? foi quando está perdido tudo que nem informa a mata e que somos um folhas nas ventos escuto o barulho dos escuto os bichos e me acho na imensidão do céu o calor Manaus faz calor faz céu vasto Amazônia água doce noite de lua noite de mata sonora mata sono na areia o vento quente o vento o reflexo do rio o reflexo céu com nuvens céu com nuvens o sol escaldante a comida caseira durmo na sombra os lagos dos lírios a vibração das águas vibração a o céu refletido no rio o céu refletido refletido nos troncos nos refletido à essência da infância à essência da infância meses dentro da água da meses dentro nado nas águas suaves nado nas águas rio por estar presente e volto a ser eu mesma volto e Mercado Adolfo Lisboa Adolfo Mercado metros embaixo d’água embaixo metros das árvores que refletem das árvores o passeio de canoa no rio depois para o rio cuieiras depois a primeira noite numa rede barco ao encontro dos rios dos encontro barco ao conversas, livros, paisagens livros, conversas, no dia anterior as Samaúmas Samaúmas as no dia anterior caminho um pouco pela mata caminho um pouco a chuva que passa de repente passa de repente que a chuva a cor da pele começa a mudar a primeira noite no rio Cuieiras o vento fresco que traz a chuva traz que fresco vento o o brilho nos olhos começa a voltar o brilho nos olhos começa a que preenche o corpo e alma de luz as árvores parcialmente submersas parcialmente as árvores a luz que bate na água e entra nos olhos nos na água e entra a luz que bate no barco que me leva a tempos distantes a no barco que me leva ------; Arte Progressiva , Art and Life Intrude H_Art; ArtLinkArt; ; ArtNews Pap Magazine (Finland); Shift; Japan Pap O Globo; Art Research Map; Art Research , Transcultura ; No.Stereo Gabriela Maciel is an artist, artistic director and curator. As an artist, her latest her latest an artist, As artistic director and curator. Gabriela Maciel is an artist, , Centro Cultural Banco do Brasil (Bra do Brasil Cultural Banco Centro , Arte Nova Nova MoMA (Shanghai); Zendai r, Swiss Contemporary Photography Association and Slash Paris. Gabriela Paris. Slash and Association Photography Contemporary Swiss Near, Next Cultural Artes das Largo and Art Residency EV_Largo of curator the permanent is Technolo Art, of groups the study Director of 2019); Rio de Janeiro (since Centre, ¶ , Palazzo Gabbi Tirelli (Italy, 2018); Hy 2018); Tirelli (Italy, Gabbi Palazzo Europea, Fotografia Utopie, oni Cambiamenti, Azores Museum, M.A.H. , Matter Matter/Non Oi Futuro (2018); , Avalanche perpixel, pú do amor Ao 2017); (Portugal, Projects TAL , Swipe Baby Swipe, 2017); (Portugal, are published artworks Gabriela’s 2016). Arte do Rio (Brazil, MAR Museu de blico, in: zil); gy & Transdisciplinarity (since 2018); Founder and director of Tech Art Lab cultural Art Lab Tech and director of Founder 2018); (since Transdisciplinarity & gy Art Digital New Wrong The and ambassador of Co-curator 2011); (since platform Contemporary the Re_Act of Co-curator and 2017); Rio de Janeiro (2013 Biennale, curatorial Her (2011-2016). Brazil in Festival Dotmov of and (2017) Azores Lab, Art ArtRio; DasArtes; JooneJoonJax; Scan Map; Art Research are published in: works ↗ instagram.com/gabriela___maciel Pipa. and Prêmio dale Project , 55SP, São Paulo (Brazil, 2019); Rivoluzzi 2019); (Brazil, Paulo São 55SP, Unicorn , The Last are: Towards exhibitions

GABRIELA MACIEL 84 - - - ↗ scherabon.com , 2019. 3-channel 2019. Be Here, Won’t We Yet Spin Will The Earth 2’30”. installation, audiovisual 3-channel. screens, 55” videos, HD VIMEO.COM/374736989 The work which was funded by the Austrian Federal - Chan Austrian Federal the by funded which was The work Herwig Scherabon is an award-winning artist, who is currently who is currently artist, is an award-winning Herwig Scherabon

¶ ¶ clusively, audiovisual installations with computer-generated imag with computer-generated installations audiovisual clusively, (France), Paris in Berlin (Germany), has had exhibitions Herwig ery. Korea). (South and Seoul (USA) City York New cellery is based on 3D scans of plants, roots, trees and flow trees and roots, plants, of on 3D scans is based cellery images of frozen are They in 2019. Amazon the in taken ers short moment in a space captured vast in a small objects than more holographs are ghosts Those digital eternity. of faraway a of stories stories: tell to tend ghosts and objects of landscapes and stories natural magnificent with land captured got that mushroom the same where futures deep in a engine some hypothetical for fuel fossil now is in 2019 will still exist. be sure cannot we world based in Vienna (Austria). He is invested in digital interpretations of of in digital interpretations He is invested Vienna (Austria). based in ex but not The outcome is often, and sublime phenomena. nature

HERWIG SCHERABON 86

------, , and the Valen (Barcú, La Factoría, Factoría, La (Barcú, Las dos and Las USA), Angeles, Los Center, Whites Lies (Convention Daniel Reyes León is a visual artist and writer from Santiago (Chile). He (Chile). Santiago from writer visual artist and is a León Daniel Reyes tional venues such as One Minute Festival, Digital Media 1.0 Digital Media Minute Festival, such as One venues tional Bogotá), Bogotá), the at He has also exhibited Santiago). el Faro, (Sala montaña la de caras and interna the MNBA, 100, Matucana Artes Mediales, 13th Biennale de doxes, systems and machines propose materials that speak of the territo the of speak that and machines propose materials systems doxes, meet interests where a poetic displaying implications, and its symbolic ry through common mate linked topics, social and historical technological, his most recent of Some or magnetism. gunpowder water, rials such as Santiago), Gallery, la negación del ocio (NAC include Montaña: exhibitions tonelada La Santiago), Forestal, Parque máquinas de ocio (MAC Montaña: (Eds fondo de Transferencia/Ruidos Chile), Valparaíso, de lluvia (CENTEX, triviales Mentiras Stockholm), Gallery, Konsthall vik ¶ United States, Argentina, including Spain, countries, in many has exhibited where para work He has been developing Colombia and Sweden. China, ↗ vimeo.com/danielreyesleon cian Institute of Modern Art (IVAM, Spain). He lives and works in Santia works and He lives Spain). Art (IVAM, Modern cian Institute of He directs Chile. de Universidad the of the FAU at teaches he where go, participat a is and Editora, Adrede called group publishing/editorial a Arte Contemporáneo. the Batuco at Project the Bacoarte in artist ing

Mother Earth, I Decipher, I Decipher, Earth, Mother , You to it and Return Devour performance Audiovisual 2019. water sounds and using images, collected during the 40’ LABVERDE residence, ------In the Amazon it is possi Amazon the In The ice monuments were installed as part of the scenery of of scenery the installed as part of were The ice monuments Based on these relationships, the artists created an audiovi the artists created these relationships, on Based ¶ During the residence of LABVERDE, Luisa Lemgruber and Daniel Reyes Reyes Daniel and Lemgruber LABVERDE, Luisa of residence the During Luisa Lemgruber is a geographer and sound artist from Rio de Janeiro (Brazil). Her sound re (Brazil). Rio de Janeiro from is a geographer and sound artist Lemgruber Luisa search is about the relationships between nature and society and the fragilities of the landscapes. the landscapes. of fragilities the and and society nature between the relationships search is about and narratives sounds, based on ephemeral performances live developing The artist is currently the exploring electronics and field recordings, using her performances She creates memories. voice and aluminum, sand, rocks, water, such as materials, with different a hydrophone sounds of to movement, relating with collaborations works she to her sound solo research, In addition body. cities in Brazil several projects in and presented She has developed visual arts and multimedia. and (Switzerland) Gais France), (Pyrenees, Aulus-Les-Bains (Germany), Berlin as such abroad, and MuBE (Brazilian Museum of at exhibitions in collective presented were works Her Belluno (Italy). and in sound (Rio de Janeiro) Art School Visual Lage and Parque Paulo) São and Ecology, Sculpture Re Biodiversitá and UK) (London, Extra Resonance Spain), (Madrid, Sonospace as such platforms, Frequên such as Novas festivals, some Helvetia at also had played Lemgruber Luisa cords (Italy). (Rio de Janeiro), Rumor Soma (Minas Gerais), Festival Voodoohop (Rio de Janeiro), cias Festival and (Gais) in Switzerland Festival Klang Moor Schopfer and at Paulo) (São Week Fashion Paulo São Arts Camp Residential in artists residences at she participated In 2018 (Chile). Festival Tsonami Incidências Sonoras at (2019–20) and currently France) and Music Courses (Aulus-Les-Bains, program sup American Cultural Exchanges & South — Swiss to COINCIDENCIA linked project, Art Immersion LABVERDEwhere she participles at Arts Council), (Swiss Helvetia Pro ported by Tsonami and Switzerland) Tour-de-Peilz, (La Residency Artist Becque La Brazil), (Manaus, Program ↗ vimeo.com/luisalemgruber Chile). (Valparaiso, Festival the performances, presenting empirically the changes in time and fragility fragility time and the changes in empirically presenting the performances, sound. its creating by water to voice giving landscape, the of fragment a of ble to feel the presence of aerial waters, surface and underground waters, waters, and underground surface waters, aerial of the presence feel to ble Its influ ecological nodes. its social and both the region into transforming impact transformations and its worldwide, is the geographical level ence at humans by modified been has rivers the this, Despite level. climatic the at the as such disasters ecological large creating purposes, productive for ¶ dam. Balvina the images and sounds recorded during using performance sual improvised Negro from frozen ice of monuments that, Despite Amazonia. residence in collected waters Amazonas) (Rio River Amazon the and (Rio Negro) River its through sounds their created that instruments as used and built were the accured during that melting process the natural by drops generated performance. ¶ ¶ human landscapes and water between the relationship investigated León these in this system of urgencies current the reviewing it generates, that became sound spaces, and its different water the of voice The territories. listening and allow that facilities actions and of creation the for an engine to routes sensitive enunciating people, with their relationship modulating always that resources of the extractivism to problems linked the current ¶ human need. of the detriment to water require

LUISA LEMGRUBER AND DANIEL REYES 90

- - - - Our Skin is Glass, 2019. images, Computer-generated various dimensions photography, instagram.com/benjamin_muzzin

↗ benjaminmuzzin.ch benjaminmuzzin.ch

Our skin is glass is an ongoing series of still images mixing still images mixing is an ongoing series of Our skin is glass Benjamin Muzzin (born 1989) is a Swiss artist working predominantly with predominantly working artist is a Swiss 1989) Benjamin Muzzin (born digital moving images. Graduating in 2013 at the University of art and design of art and design of of the University at in 2013 Graduating images. digital moving Design, degree in Media & Interaction with a Bachelor’s (Switzerland), Lausanne he ex In his practice, excellence. for Prize the ECAL receiving and additionally plores with computer-generated images the reconstruction of aesthetic and aesthetic the reconstruction of images with computer-generated plores environ virtual of His re-creation to science-fiction. specific elements formal of variety a in interested be to him pushes dystopia, and utopia between ments, or prints. installations kinetic video mapping, including work; his for mediums regularly where he and Lausanne, (Germany) Berlin between works and lives He ↗ the ECAL. teaches at ¶ ¶ ities. Despite the initial seducing aspect of the represented the represented the initial seducing aspect of Despite ities. an ex like is happening, violent and fast something subjects, glass. into turning living matter treme heat real footage with digital elements. Those images are repre- Those images with digital elements. footage real the in roots their have they territory; kind of a new senting They it. from away far time same the at are but world real the memories distorted by of multiple layers to are similar are continuously they like look They time and space. of effects to our environment way in a similar changing and evolving, our human activ by remodeled and altered being reshaped,

BENJAMIN MUZZIN 94

- - - The video installation Audio Audio were recordings The proposal here is to create a space a space to create The proposal here is ¶ , 2019. Audiovisual 7’30” installation, Audiovisual , 2019. A3 VIMEO.COM/409937900 A3 is a research about the way the water affects the dif the affects water the way the about is a research A3 for reflection, where knowledge comes from the emotional the emotional from comes where knowledge reflection, for images and sound produce in each personal that experiences an antinomy creates the installation way, this In subjectivity. crisis the climate on or meditate to reflect time the giving by to changing are currently territories way the and illustrates memories. become so quickly ¶ ferent landscapes and societies that took place in Atacama Atacama place in took that and societies landscapes ferent La at finally in Brazil and Forest Amazon the in in Chile, desert ¶ Switzerland. in Vevey to Becque close be differences the represent to place visited each in collected the the desert, the striking silence in soundscapes: the tween the between the mix and jungle, the noises in animal constant ¶ sounds here in Gais. urban and rural a reflective by screen covered a billboard-inspired is made of bill abandoned empty inspired by was This structure fabric. landscapes. the surrounding reflecting the desert boards in jackets on security present fabric used is usually The specific This the attention. to catch a danger and people of warn to the situation of the urgency out to point sign is here warning in which we all are.

BENJAMIN MUZZIN, LUISA LEMGRUBER AND DANIEL REYES LEÓN 98 , 2019. Photography & video, 500 x 500 cm LED sphere screen. TBC cm LED sphere screen. 500 x 500 video, & Photography 2019. , Force Life - - - - mancheung.com mancheung.com Force Life Man & Wah Cheung are brothers living and working in Australia. Australia. in working living and Cheung are brothers Wah Man & brate the beauty and diversity of nature from around the world, ex world, the around from nature of and diversity the beauty brate environment the natural humans, between the relationship amining our of reflection deeper invite works The existence. cosmic the and to appreciate and the cosmic process, and with nature relationship ↗ planet. in sustaining a liveable the role it plays ¶ They produce audio/visual works and large installations which cele installations large and works produce audio/visual They The ethnobotanist Dennis McKenna once said: “what is the is said: “what once Dennis McKenna The ethnobotanist ¶ the cos is the mystery is everything, the mystery mystery, mos, the mystery is trying to understand our place amongst to understand our place amongst trying is the mystery mos, ¶ this point”. to misunderstood up woefully which is nature, works video and photographic new of is a collection Force Life had they force life exuberant the by inspired Wah, & Man by the during Rainforest Amazon the in felt and experienced a merg are works The Art Immersion Program. LABVERDE moving and portraits floral cosmic unique Wah’s & Man of ing ¶ Rainforest. Amazon the in captured visuals both LED sphere on a suspended custom built will be exhibited its kind of first (the in diameter centimeters measuring 500 the With precinct. educational new in QUT’s world) the in to arouse a aims Force Life spheres unique scale and location deeper reflections outer space; provoking in floating sense of the role it to appreciate and with nature our relationship of and being, well and human planet a liveable in sustaining plays our and understanding of exploration of thoughts to inspire the cosmos. the living earth and place amongst

MAN & WAH CHEUNG 100

- - - - Connective Connective , 2019. Cyanotype Cyanotype 2019. , Philodendron Pedatum a mobile from paper made on cotton a philodendron of phone photograph cm 29,7 x 21 Brazil, Manaus, of West plant How can such a practice contribute contribute practice a such can How I have since begun charting a parallel I have ¶ ¶ LABVERDE offered the chance to reflect on such to reflect chance the LABVERDE offered ¶ (Regency Townhouse, Brighton, UK). Beach’s work work Beach’s UK). Brighton, Townhouse, (Regency the More-Than-Human for Prospect (Galerie Duchomp, Yvetot, France), France), Yvetot, Duchomp, (Galerie Landscape The Making of London), Mei Gallery, (San How can we as humans reconcile our desire to cohabitate with cohabitate to desire our reconcile humans as we can How Matthew Beach is an American-born artist-researcher based in London (UK). He is a teach a is He (UK). London in based artist-researcher American-born an is Beach Matthew ered amidst the murky silt. silt. the murky ered amidst practices in the context of waste creation, extraction, and exoticism. and exoticism. extraction, creation, waste of the context practices in there, time during my answers readymade compose any While I did not uncov were enquiry lines of which new tidal shift in a I experienced tropical and subtropical plants in domestic spaces across the globe the across spaces in domestic plants and subtropical tropical con- was I catastrophe? increasing environmental of the context in - taking part in LABVERDE encounter while question this with fronted very The spaces. native their genus philodendron in the ing species of ten-thousand kilometres home almost in my taking root same beings across Atlantic. the to defining new more-than-human domestic relations fostered in the in fostered relations domestic more-than-human new defining to damaged planet? and our Anthropocene the of context ¶ ¶ graphic, and care in more-than-human worlds. Presently, Beach’s Ph.D. project project Ph.D. Beach’s Presently, worlds. more-than-human in care and graphic, practices the production and consumption embedded in the materialities Tissues explores ↗ matthewbeach.org and collagen. gelatin of ow and His (London). Theatre and Bloomsbury (London) Showroom The at screened been also has the photo place, between the entanglements within artistic-research practice is situated ing and research fellow in the printmaking department at City and Guilds of London Art London and Guilds of City at department the printmaking in fellow ing and research London. of University Queen Mary, Geography, of the School in candidate and a Ph.D. School, and MFA Florida (USA), of University Arts, the the College of from his BFA Beach received the in He also participated College London. University Art, Fine of the Slade School from Shad Herbarium’s include: The exhibitions Recent Art. Institute of Summer Saas-Fee 2016 - I am inter naturecultures. wallpaper and taxonomic across history environmental more-than-human of ested in depicting a palimpsest across tying the United history Amazon Rainforest Kingdom to the cre- a practice of included here portray The images time and space. houseplant practices of contemporary around imaginaries new ating ar- from tropical plants depicting wallpapers care and reproduction Kingdom. United the in chives

MATTHEW BEACH 104 Node, 2019. Archival inkjet print made from a photograph taken in the Adolfo Ducke The Herbarium’s Shadow #1, 2019. [working title]. Archival UV ink on terra cotta clay. 60 x 90 cm Forest Reserve North of Manaus, Brazil, variable dimensions Performance Green Zoology, 2019. 2019. Green Zoology, - - - - ¶ er ¶ in 2014, which Carpas in 2014, searches for reasons and consequences of of consequences reasons and for searches Zoology Green Patricia Bárbara is a Brazilian performer and the executive producer of Fes producer of the executive and is a Brazilian performer Bárbara Patricia the intention is to “personify” an animal, neither imitate nor imitate neither animal, an to “personify” is intention the - Rec to experiment. exclusively The goal is always interpret. material differences, and similarities Perceive herself. ognize an Be appear. to animal the for Be available and immaterial. - experi the immersive body, The performative instrument. this direction. in way a records offer the creative ence and - environ the and humans between relationship current the a basic human of the unfolding over falls idea Its main ment. are not. we pretend let’s animals, despite being behavior: per- which view, of such a point to deconstruct Attempting the human detachment and process the civilization vades boneca A Bárbara, the artist Patricia nature, invented an of mani- tools of as voice mind and body, uses her conceitual, intrinsical her for searching whole, as a the body of festation holistic interaction. for organism eager as an animality, tival Mutiplicidade, one of the most important arts and technology festivals in in festivals technology arts and the most important one of Mutiplicidade, tival she participated In 2015, She has a degree in Cinema. America. Brazil and South proj The explain”. can’t just “I project the with Arteles residency artistic the in its historical dominance with Nature, the human interaction thematized ect it means now what as well as it, from the “detachment” therefore, and it, over the devel In 2016 Nature. towards to our role in and to be so oblivious adays the prospection of and a parallel development, found the research of opment with the project “Becoming”, for she researched In 2017, started. “Becoming” Estado do Rio de do Amparo à Pesquisa — Fundação de FAPERJ from a grant She participated Bae”. Lara of World the research is “The The result of Janeiro. the project. from with a process piece 2017 Dance Festival — Navarra DNA at the for the pilot she developed with Carambolas Produções, together In 2018, show, talk and a cooking show of which is a mix Bae”, Lara of World “The show TV channels. TV with in negotiation and is currently ¶ , is part and Sapo, the pieces Onça counting , Green Zoology the with in 2010 initiated “Zoology”, phase the artist’s of by followed , Pérola video installation was the visual art for FEMINA — Women’s International Film International Women’s — FEMINA for visual art the was the work In her performative Coruja um 2019. and Festival, and to comment as an instrument body artist uses her own rules and limits. question standards, ¶

PATRÍCIA BÁRBARA 108

In my view, the view, In my ¶ With some of my work, work, my With some of ¶ The action of capturing these capturing The action of ¶ With my work as a photographer, as a photographer, work With my ¶ The influence of mankind is undeniably strong and the po- and strong is undeniably mankind of The influence tential devastation that comes with that influence is an aspect is influence that with comes that devastation tential all should be made We of. be made aware people should that are that rainforests the losing, are we beauty the of aware are decreasing that populations wildlife the and disappearing - paced evap the steadily of all need awareness We the day. by cultures. traditions and indigenous certain lifelong of oration message. is my Awareness message of awareness would come across best in case people would awareness message of have. I like first-hand human influence the harmful experience with Combining a photo a possibility. this is not Unfortunately, tangible sends a stronger and a more personal experience my In- encounter. first-hand the to a close message as it offers field people conducted during my with interviews clusion of to refers personal observations documented research and my - environ their natural beings and human tension between the to see. world the the rest of for want I so badly that ments I want my viewer to experience that the photo taken is just a taken photo the that to experience viewer my want I is that a moment is changing, that a moment time, in moment analogue using by time of fleetingness this capture I fading. a strongThis creates saturation. removing and by photography the image more susceptible. while also making feeling nostalgic that feeling a by overcome be to viewer the want I way some In the days. in to be back it used this is how says ↗ pieterbasbouwman.myportfolio.com ¶ I visualize and illustrate the detrimental impact of human ac- of impact the detrimental and illustrate visualize I wild- the endangered and ecosystems threatened the on tivity via aesthetic tangible as possible stories as I make within. life the making work, my in documentation written and choices when than the images in humans more perceptible of imprint itself. the image by just showing threatened species, various natural landscapes and damaging and landscapes natural various species, threatened desire my translate to with a means me provides processes, abun- the frame to me allows It planet. our of preservation for various the through absorb we imageless information dance of into newspapers) magazines and social media, channels (e.g. the subjects un- for as a manifesto serve that actual images being swallowed before noticed best manifesto A threat. der information. of wave another yet by

PIETER SEBASTIAAN BOUWMAN 112 Iris, 2019. Analogue photography and collages , 2020. Digital photographic image Digital photographic 2020. Thermo-Cruising, Kurosawa. + Seiha Kamimura Yoichi - - - - On ¶ , Irish Museum of of Museum Irish , to the Age Digital Century th seihakurosawa.com - the pre-struc in empathy mythical of is a state Communion Seiha Kurosawa is a Japanese curator and artist based in Tokyo (Japan). He is (Japan). Tokyo and artist based in is a Japanese curator Kurosawa Seiha the other hand, “Survival-perspective” is inspired by lec- by is inspired “Survival-perspective” hand, the other hu- on impact its and crisis ecosystem Amazon the on tures the LABVERDE actors, Non-human in program. man survival Amazon’s at gazing keep that satellites and drones as such will that cosmological perspective a will present ecology, the drone Here, without humanity. even powerfully survive finds a certain sublime in a cat who the subject becomes astrophic situation, while at the same time co-existing as time co-existing the same while at astrophic situation, reinventing thereby Amazon, the in ecosystem a new part of non-human from the challenges through nature of view our with These projects proceed in collaboration perspectives. with The ongoing project Kamimura. Yoichi Japanese artist by the planet of a macro-scale ecology to present him aims drift ice research of two-opposites, the combining sensually the of the investigation and (northern Japan) in Hokkaido in the Amazon. rainforest FUKAMI — Une plongée dans l’esthétique jap Ireland) and FUKAMI — Une plongée dans l’esthétique Art (Dublin, Modern (Paris, France). ↗ France). onaise (Paris, ¶ ¶ temporary art methodology that emerges from new ecology and is based on ecology new from emerges that art methodology temporary sensual new a create to His aim is practices. film and curatorial field research, the emerging complex to grasp the audience allows that ambiance and poetic approach mixing curatorial by Anthropocene the the era of under ecology practice has included: His curatorial texts. and filmmaking process, the es, Russia), Art, Contemporary Biennale of International (Moscow Clouds⇄Forests — TECHTONICS PANGAEA and France) Pompidou–Metz, Japanorama (Centre film He also directs Forum). International Art (Tokyo Emerging Diastrophism of in are presented film installations His practice. his curatorial as part of works the 20 from Revision A Desire: a Ph.D. candidate at Tokyo University of the Arts. Kurosawa investigates a con investigates Kurosawa Arts. the of University Tokyo at candidate a Ph.D. - precede “communi that stages pre-linguistic tural and matter and non-human, all human Amazon, the In cation.” animals, human beings, as (such existence the spiritual and Western regardless of etc.), spirits, earth, climate, plants, as equivalent co-exist perception, or scientific modernity to present aims name “Ecommunion” The project actors. as a more primal level harmony of this state and describe Amazon. actors in different among communication of

SEIHA KUROSAWA 116 Seiha Kurosawa. Ecommunion (evening), 2020. Digital photographic image Seiha Kurosawa. Survival-Perspective (Balbina), 2020. Digital photographic image

Yoichi Kamimura + Seiha Kurosawa. Yoichi Kamimura + Seiha Kurosawa. Ecommunion #1, 2020. Sound, 10’07” Survival-Perspective #1, 2020. Sound, 11’22” , 2019. Addressable LED light installation. installation. LED light Addressable 2019. onico, Ritmo amaz Touchdesigner design in data Generative - - is hosted, is hosted, Ritmo amazónico is a light and sound installation that that installation and sound onico is a light Ritmo amaz Ritmo How to produce art in times of social media and technological dystopia? A A technological dystopia? social media and times of to produce art in How brings the abundance of colors and changing rhythms of of rhythms changing colors and of the abundance brings canvas pattern light A parks. to our urban city Amazon the during LABVERDE. shot footage, video 360 from created was while the jungle of cycles and natural textures the Capturing can installation This sensory perspectives. new revealing software’s the into feed that sets data different host then Amazon the in Research for Institute National The algorithm. is integrated 340 bird species over with sound library (INPA) Each bird’s the installation. the boundaries of within to move of a network onto translated and sound is unique pattern configurations can be used in different that profiles led pixel harming without trees to host in living but are designed the then The trees artwork, become the them. structure of while minimizing in our cities trees of value the emphasizing Amazonian will energy forceful A footprint. the artwork’s where the city the treesof flock Hosting in mul- real one. the with the urban jungle merging going birds of to mimic large movement us trees allows tiple rainstorms by interrupted yet the other, to tree one from Amazonian the inside were you if sunrises as or evaporative itself. jungle canopy look in Stijn Jansen’s work can help us elaborate on this. Stijn is a 35-year-old Stijn is a 35-year-old this. on can help us elaborate work in Stijn Jansen’s look (Bel Brussels from Originally (Colombia). Medellín in based creative digital gium), he studied visual design at the Sint Lukas School for Arts. During this During Arts. for School Lukas the Sint visual design at he studied gium), In his masters media. and new innovation for love a growing time he developed creativ of festival the Cannes Lions at Future Lions of first edition the won he world. the in students forward-thinking the most being labeled as one of ity, as a world the advertising career in 10-year a the beginning of This marked the US in creatives 100 top the chosen as one of was he In 2017 digital creative. future the for a change to make he chose to Medellín, moving After Adweek. by art and sustainable projects on social, focus with a creative as an independent relevant to understand how tried he Amazon the In his studio: MODO. from the rainforest being in from get you sensation the physical with combined data, forest the of the power encapsulates that an installation into translated can be to our cities. and brings it ¶ ¶

STIJN JANSEN 120

- - - - Threads, 200 x 90 x 70 cm 70 x 90 x 200 Threads, The Amazon is a complex, dynamic is a complex, Amazon The ¶ In response to our stay in the rainforest, we have have we the rainforest, in to our stay In response ¶ - inves We form. and with landscape deal we work, In our Thomas & Renée Rapedius live and work in Berlin (Germany). They studied Fine They in Berlin (Germany). work and live Rapedius Thomas & Renée - influ landscape is and nature of our perception how tigate ide- of the archetype is Amazon The idealizations. enced by planet on the largest rainforest It is in nature. form alized fragile and whose powerful yet teems with Earth which life on depending or plundered, feared, is revered, ecosystem it. approach we how ena from natural and cultural environments are their main interest. They in They interest. main their are environments cultural and natural from ena ideal by and landscape is influenced nature of the perception how vestigate photography abstract drawing, incorporate works Their installation izations. the and fleeting the the accidental, of moments and show objects, fragile and Museum (Germany), Museum Marta Herford at exhibited have They fragile. Museum Morsbroich (Leverkusen, Germany), (Bremen, Gerhard–Marcks–Haus Daejeon Museum Art (Belgium), Contemporary Museum of S.M.A.K. Germany), been have They (Germany). Göttingen and Kunstverein Korea), Art (South of Ar Korea, South Burkina Faso, Japan, India, artists-in-residence in Colombia, ↗ www.rapedius.net States. the United and gentina Art at HFBK (Hamburg, Germany) and graduated in 2004. Forms and phenom and Forms in 2004. graduated and Germany) (Hamburg, HFBK Art at ¶ ¶ system where everything is connected to everything else. else. to everything is connected where everything system the world, the whole — a part of course, of is, system That to least — and not the global economy and environment and interconnects It connects individual actions. our own political and its postcolonial, through its economic present history. knotted red ropes of different thicknesses to form a chaotic chaotic a form to thicknesses different of ropes red knotted veins human like together to plug seen can be They object. echo the twist may that lianas they viewer, to a different or, It the trees. shows in threads from complicated seemingly and connected being between relationship ambivalent the being entangled.

THOMAS & RENÉE RAPEDIUS 124 , Martius) Von Drawings (after Soil with made Drawings 7’25”. . Video, 2019 Reserve. Ducke Adolpho from soil VIMEO.COM/394991990 This video records the dissolution of three drawings made from soil from made drawings three of dissolution the records video This www.valentinasotoillanes.com - and installa in sculpture mainly working is a Chilean artist Illanes (1988) Soto Valentina from the Adolpho Ducke Forest Reserve (Manaus, Brazil). The images The Brazil). (Manaus, Reserve Forest Ducke Adolpho the from German by (1840–1906), Flora Brasiliensis book the from taken are the in interested was I Martius. Von Philipp Carl Friedrich explorer European colonizers as rendered by Amazon the of representations botanical two The said image. the transform and destroy to how and, to the re- (native Amanoa illustrations to the correspond oblongifolia from smuggled was that malarial antidote (natural and Cinchona gion) third image The colonization). region and helped the Latin-American born before were that trees “The entitled to an engraving corresponds - Amazo (Rio River Amazon the of banks the on forest the in Christ the that territory and “virgin” the sublime to ideas of referring nas)”, the recordings done The soundscape are nowadays. even has Amazon forest, the through outingsin walks during the different residency: the Balbina visiting and afterthunderstorm a overseeing on a boat perceptions different two this manner, In Brazil) damn. (Amazonas, them; one refers to dislocate are assembled in order territory the of the and representations through European to a constructed image translation the is What through a place. moving of experience physical space? an imagined landscape and an experienced of ¶ Master in Fine and a de Chile (2011) Católica Universidad from her BFA She received tion. and nature of concepts the on focuses work Her (2015). Chile de Universidad from Arts behind colonization of the narratives to in media their representations from landscape, rep- landscape and nature of ideas the permeate that stories power the in invested them, art and nature, between on relationships focus to This research has led her resentation. She has world. the natural of textures the exploring them, between interstices the and (Galeria such as De lejos se arma: ejercicios de recorte in exhibitions work her shown foreign the Chronicles of Chile), Santiago, D21, (Galería 15.01.15. Chile), Santiago, BECH, (Espacio Munar, para que me lleves llevo and Te Chile), Santiago, Gabriela Mistral, (Galería (Bo- residencies: Flora ars+natura the She has also been part of Argentina). Aires, Buenos (Vermont, Center Studio Vermont and Argentina) Aires, (Buenos R.A.R.O. Colombia), gotá, and she is in and ephemeral installations, clay with unfired working She is currently USA). USA). (Philadelphia, Pennsylvania of the University program at the MFA of year her second ↗ ¶

VALENTINA SOTO ILLANES 126

, 2019. Documented performance and writings and performance Documented 2019. , entender se tenta Um corpo UM CORPO TENTA SE ENTENDER TENTA UM CORPO it? facing or start to nature turning our backs keep we Shall - - - orumodofumo.com/pt/artistas/vera-mantero_2 ↗ Vera Mantero studied classical dance and was part of the Gulbenkian Ballet the Gulbenkian Ballet part of was classical dance and studied Mantero Vera ¶ and has been presenting 1987 She started choreographing in 1989. to 1984 from Canada, Brazil, Uruguay, Argentina, Europe, all over work her solo and group the perfor created Mantero States. the United and Korea South Singapore, mance installations Shadows on Offer and More or Less, but Less than More, than More, Less but Less, and More or on Offer Shadows mance installations of whole space the versions: occupying different two in presented was which vegetable urban and at and proscenium — in 2013, the auditorium — seating to miss everything are going We works the as well as These projects, gardens. the reflect clearly (2016) The Dirty The Clean and and need (2009) don’t we the environment, issues such as fundamental for concerns choreographer’s 1999 In and citizenship. social cohesion and inclusion, economic sustainability, she represented and in 2004 work her of a retrospective Culturgest organized co-created work with a Art Biennale (Brazil) Paulo São the 26th at Portugal has been rec work Her Heart Out. your Eating Chafes, Rui the sculptor with Arte Gulbenkian the Prémio such as institutional prizes with several ognized nominated was she In 2018 (2009). and performer her career as a creator for on focused initiative Avina a Fundación Personality, Intellectual Ibero-American environ of field the in contributions made important have that professionals sustainability. mental

VERA MANTERO 130 All I know is we must boycott and prevent the action of All I know is that indigenous, quilombolas and ribeirinhos corporations such as AgroSB, Grupo BIHL and JBS (beef), communities are the ones who have the actual knowledge on Bunge and Cargill (soy) and BlackRock (financing) in the HOW TO LIVE A HUMAN LIFE IN THE FOREST AND Amazon forest. They and others* are the ones destroying the forest. BE ABLE TO PRESERVE IT AT THE SAME TIME**. We must support them in any way possible.

*↗ amazonwatch.org/assets/files/2019-complicity-in-destruction-2.pdf **↗rightsandresources.org/en/publication/globalcarbonbaseline2018/#sthash.U1yy7keU.jldytpxH.dpbs Video, . Video, The Echo of our Breath, 2019 The Echo of with 4-channel sound installation 1’40”. CO2 sensor, VIMEO.COM/385789810 ------Presented as part of the as part of Presented yifeatziv.com ↗ The Echo of Our Breath proposes a time- a proposes Our Breath The Echo of Additional credits: Video used for the installation the installation for Video used credits: Additional Visuality is limited in the dense Brazilian Amazon rainforest and the and rainforest Amazon dense Brazilian the in is limited Visuality Yifeat Ziv is a vocalist, a composer, a free improviser and a sound artist. She combines and a sound artist. improviser free a a composer, vocalist, is a Ziv Yifeat ¶ that works sound interdisciplinary to create text and field recordings electronics, voice, and listening prac acoustic ecology language, voice, the human her research of from derive Collec Wellcome in places such as and exhibited performed were works Her recent tices. Design Museum Holon Republic), Quadrennial (Czech PQ: Prague (UK), OTO Cafe tion (UK), Her re Art (Israel). Digital for the Israeli Centre Israel Museum (Israel) and Eretz (Israel), Stefan (USA), William Parker (UK), Toop include artists such as David collaborations cent also is She (Israel). Rosen Roee and (UK) Ensemble Experimental London (Switzerland), Thut whom she has with Ensemble ABRA and The Hazelnuts ensembles vocal of the co-founder festi in international worldwide acclaimed albums and performed critically four released Safaricom Jazz (USA), Tri-C (France), including Marseille Jazz des Cinqs Continents vals in an MA holds Ziv Jazz (Israel). Sea the Red and (Switzerland) Filter4Voices (Kenya), Jazz Communication) College of (London Arts London the of the University from Arts Sound and Music of Academy the Jerusalem from Composition in Cross-disciplinary and a B.MUS the and (2018–19) Musical Creativity for Fellowship the Siday of the recipient She is Dance. (2019). award the Environment for Art AER space where fragmentary sonic recollection of the Amazon rainforest rainforest Amazon the sonic recollection of fragmentary where space an embod voice lingers and unfolds a human of echoes flickering and ing into the overwhelming soundscape of the abundant Amazonian Amazonian the abundant soundscape of the overwhelming ing into Amazonian thick through the travel soundwaves Invisible ecosystem. a has that sink terrestrial carbon largest world’s the the air of air: atmosphere; the of (CO2) out in pulling carbon dioxide role significant mas of as a result being burnt is currently that forest a the air of ¶ actions. deforestation sive the changing amount by affected Constantly a place. of ied experience The breathing, peoples’ as a result of space the installation CO2 in of pres our own unseen impact of the us hear lets Our Breath Echo of way the and breathe we that the air about think to us ence and invites ¶ processes. anthropogenic by it is affected Arts Graduate Sound (MA exhibition Awareness of States Heightened Lon Arts the of University Communication, College of London Show), the Environment for Art the by Supported December 2019). don (UK, ¶ (AER) program. Video documen Ziv). Yifeat by Hilnando Mendes (edited by taken was Dror Shohet. and edited by taken was installation of tation ¶ this place. perceive we way the in essential becomes hearing sense of that reverberation a natural ground create forest the trees and The our of locale spatio-temporal the around bouncing voice, our echoes disappear finally, making and, own our of traces reflecting presence,

YIFEAT ZIV 134 ------con mythological re-emerging the idea of from arises This project Self-taught artist, atheist, stimulated by the spiritual eclecticism of Brazilian culture, Zoroas Brazilian culture, the spiritual eclecticism of by stimulated atheist, artist, Self-taught (Work in Progress) in Progress) (Work Stateless Forest. Bio Resistance ¶ assemble her own to seeking Unknown, great the with exchanges ritual various the inspects tra prac three religious matrixes the between the syncretism based on vivendi, or modus religion, Without doctrine or dogma and Western). and African Indigenous, ticed in Brazil (autochthonous beings and explores of forms in all existing to a conscious present it appeals animist origin, of word the which challenges disevangelization an urgent of way By it. incorporating for mechanisms sources in a with natural interdependence habits of she summons and reactivates DEUS (God), that considers Zoroastra indigenous cosmogonies. from learning a revival, primitivism like sort of communal to a critical stage of the planet induced technologies have creeds and derived western the of insight of the diversity to awareness to bring the urge manifests therefore suicide and the con In harmony. a polytheist and proto-binary to recapture in order indigenous knowledge trans-reli the practice of for ambiances modus operandi she creates this new-deistic stitution of applying from evades Zoroastra egregore. the new and iconographies composing gious conclaves operations. such as aesthetic acts, of dint languages by creating discourse, able the harmonious coexistence between humans and non-humans, humans and non-humans, between the harmonious coexistence able the and ecosystems forest biome of the of the protection endorsing and multi-species, biodiversity of the interaction in rights of equity been has that impact anti-ecological overwhelming the preventing and under serious threat in imminent territory, indigenous haunting devastation. and exploitation of policies consecutive by intimidation - sys resistance, uprising indigenous current the with collaboration In will and biopolitical eco-justice biotechnological biocultural, for tems knowledge the self-sustaining on builds that in a dialogue be explored aimed knowledge scientific indigenous communities, Amazonian the of and art as forests, the of technology living the inherent preserving at this praises Forest Stateless Bio Resistance an activist manifestation. a reflection united in and art, science mythology, triad composed of the the towards Capitalocene thinking and collapse of the on eventual result formal the the research phase, Still in a post. construction of per- syntheses, as new to be determined this project is a potential of emerge. affections and ceptions ¶ off or erased weakened forces animist structural ancestral ducts, the during Brazil of peoples indigenous the of history spiritual the the for it rises up a movement an artistic project, As years. last 520 en that cosmogonies indigenous the in present cults of resurgence

ZOROASTRA INFINITA 136

LABVERDE 2019

MANIFESTA ARTE E CULTURA INPA ARTISTS

DIRECTOR GENERAL CURATOR AND COORDINATOR Angela Francis Antônia Maria Pereira Lilian Fraiji Anne Jezini EXTENSION COORDINATION Anne-Katrin Spiess COORDINATOR Rita Mesquita Bárbara Sánchez Barroso Laurent Troost Denise Gutierrez Benjamin Muzzin SCIENCE CURATOR AND NATURALIST GUIDE RESERVE COORDINATION Betty Sargeant Flávia Santana Ribenildo Lima da Silva Clarissa Tossin Cristina Ataíde NATURALIST GUIDE RESEARCHERS AND SPEAKERS Daniel Reyes León Rafael Estrela Rubana Palhares Dawn Gaietto Charles Clement PHOTO AND VIDEO Edith Derdyk Jochen Schöngart Hilnando Mendes Elisabetta Zavoli Mario Cohn-Haft Rogério Assis Faisal Anwar Rita Mesquita Felipe de Avila GUEST CURATORS Julia Simon Herwig Scherabon Chico Dub Luisa Lemgruber Luiz Alberto Oliveira Matthew Beach Yasmine Ostendorf Patricia Bárbara Yuko Hasegawa Pieter Bas Bouwman GUEST SPEAKER Sara Michieletto Fabricio Baccaro Seiha Kurosawa Renata Peixe-boi Simone and Carolina Moraes Ricardo Perdiz Stijn Jansen Roberto Evangelista Thomas and Renée Rapedius PROJETO SONORA Valentina Soto Bruno Garibaldi Vera Mantero Luisa Puterman Wah and Man Cheung Reserve Production Yifeat Ziv Talyta Souza Zoroastra Infinita Marcelo da Silva CUISINE RESERVE CHEF ACKNOWLEDGMENT Edson Ferreira

SOCIAL MEDIA Bruno Mangolini Tammy Cavalvante Roberto Brito Sara Micheletto GRAPHIC DESIGN Anne Jezini Alles Blau

TEXT REVISION Dimitri Arantes Juliana Costa Bitelli Maria Cláudia Aleixo labverde.com [email protected]

follow us

labverdeexperimentaçõesartisticasnaamazonia

labverde

labverde